CA2297518A1 - Ear training method - Google Patents
Ear training method Download PDFInfo
- Publication number
- CA2297518A1 CA2297518A1 CA 2297518 CA2297518A CA2297518A1 CA 2297518 A1 CA2297518 A1 CA 2297518A1 CA 2297518 CA2297518 CA 2297518 CA 2297518 A CA2297518 A CA 2297518A CA 2297518 A1 CA2297518 A1 CA 2297518A1
- Authority
- CA
- Canada
- Prior art keywords
- track
- tracks
- segment
- player
- played
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Abandoned
Links
Landscapes
- Electrically Operated Instructional Devices (AREA)
- Electrophonic Musical Instruments (AREA)
Abstract
An audio CD contains dozens of tracks, each track having three segments. In the 1st segment is recorded a musical chord; in the 2nd a pause period of silence; in the 3rd a voice announcement of the correct answer as to what was played in the 1st segment. The CD is played in random-mode in a CD player. The system provides drills which are advantageous for teaching music students to identify and recognise chords and notes, by their sound.
Description
1 Title: EAR TRAINING METHOD
2
3 This invention relates to a manner of training a person to
4 recognise and identify certain sensory items, such as sounds. The 6 invention is especially useful for training persons to recognise 6 and identify musical chords.
11 There is a teaching aid that is wall known for teaching reading, t2 called Flash Cards. The flash-cards are shown, in random order, to 13 the student, each card for a short time. The flash-cards have 14 respective words printed thereon, and the student must guess or state the word. The flash-cards can be shuffled, and presented to is the student in random order, whereby the student cannot learn the 17 words simply by remembering which word comes next in a series.
19 The invention provides a system for presenting musical chords, and 2o the like, for identification. The system may be identified, by 21 comparison with flash-cards, as a FLASH CHORD (TMj system. It is 22 an aim of the invention to provide a convenient and economical 23 means whereby a student can be presented with musical chords, or 24 the like, for identification, in much the same way as flash-cards are used to present a student with words for identification.
3o In its preferred form, the invention provides a Compact Disc, of 31 the very common 12 centimetre type. The CD includes several 32 tracks, in fact up to as many as ninety-nine tracks. Each track on 33 the CD has a first segment, on which is recorded a chord or other 34 item to be recognised and identified (or memorised). The track then has a second segment, which comprises a pause of silence. The 36 track then plays a recorded announcement, in voice, as to what the 37 chord actually was, i.e C-major, etc. The CD may have all the 38 chords played on a single instrument, or on several instruments.
4o The said CD is played on a CD-player, of the kind which has a 1 facility for random selection of the tracks. The tracks come up in 2 random order, and the student seeks to identify each chord before 3 the announcement confirms or denies his answer.
The system is suitable for private drilling by the student, since a the feedback to the student is immediate. The system is also 7 suitable for testing, in which the music teacher observes the s student's performance, and can quickly recognise which particular s aspects are giving the student trouble.
11 The system is aimed at improving the student's ability to sight-read 12 rapidly from printed sheet music. The system is also aimed at 13 recognising the structure of a piece of music "by ear", i.e to be 14 able to play the music simply from having heard it. For example, in order to be able to play music by ear, i.e to be able to listen 16 to a tune or piece of music, and then try to play that music on the 17 piano, or on the guitar, a person has to be able to identify the 18 chords he hears - here a major chord, there a minor-7th, and so on.
is 2o For sight reading, a student wishes to learn how to look at printed 21 sheet music, and to "visualise", in his mind's ear, how that music 22 will sound, when played. A person who has this skill of sight-23 reading at its most refined is able to look at a piece of sheet 24 music, perhaps of an orchestral work, and to make a meaningful assessment whether he likes the way the flutes come in, in bar 74.
27 Such skill is perhaps not available to all. But even to those to 28 whom it is available, the skill has to be learned, which means it 2s has to be learned systematically. When learning to read, for 3o example, a child learns the letters of the alphabet as individual 3i elements. These are the basic building blocks of words, without a 32 mastery of which the words themselves can only be learned by rote.
33 A mastery of the building blocks of language is acquired step by 34 step, progressively enabling the child to build his own words.
36 So with music. A mastery of the building blocks of music, i.e 37 chords, similarly moves in steps, whereby an easy familiarity with 3s the basic building blocks leads on, in steps, to the more refined 3s skills. First, the student learns to manage chords, in isolation.
4o Then, he learns to manage chords as sets, e.g dominant, 7th, sub-1 dominant, relative minor, etc. Then, he learns the traditional 2 ways music is constructed, as chord sequences, from simple 3 accompaniments, as in a 12-bar pop-tune, to complex but highly 4 structured tensions and resolutions, as in a Schubert sonata. He does this first with a single instrument, such as piano or guitar, a for which the sheet music presents the chord as an integrated, 7 easily recognisable, pattern of notes. Then he progresses to doing 8 it with chords as played by a whole orchestra or band, where the 9 difficulty of discerning the chords is compounded by the fact that 1o the notes are spread over many instruments. But the skill of 11 recognising how even the most complex multi-instrument music is 12 constructed can be learned the more easily, by a thorough 13 grounding, step by step, in the skills as taught by the CD system.
The CD system as described herein may be regarded as being valuable 1e at all levels, from a child taking his first piano lesson, to a 17 maestro honing his listening and interpretive skills.
19 It may be noted that the effect of flash-cards, as used for 2o teaching words to children, can be accomplished alternatively by 21 programming a computer to flash words on the screen, in random 22 order, for identification by the student. So with the Flash Chords 23 (TM) system - a computer could be programmed to randomise the 24 presentation of musical chords, as sounds, in a similar way.
However, as explained in detail herein, the CD system lends itself 2s very well, and very economically, to a Flash-Chords-based system 27 for learning music.
DETAILED DESCRIPTION OF PREFERRED EMBODIMENTS
32 By way of further explanation of the invention, exemplary 33 embodiments of the invention will now be described with reference 34 to the accompanying drawings, in which:
36 Fig 1 is an illustration of a Compact Disc, and of a CD-player, for 37 putting the invention into practice.
38 Fig 2 is a diagrammatic representation of what is recorded on some 39 of the tracks of the CD .
1 The apparatuses shown in the accompanying drawings and described 2 below are examples which embody the invention. It should be noted 3 that the scope of the invention is defined by the accompanying claims, and not necessarily by specific features of exemplary embodiments.
7 The Compact Disc 20 shown in Fig 1 has material recorded thereon, s the material being separated, on the CD, into several separate 9 tracks.
to ~1 The CD-player 23 shown in Fig 1 has a selector control 24 for ~2 setting the CD-player into random-play mode. Many CD-players, as 13 in Fig 1, have a specific button 24 that can be pressed to enter 14 the random-track mode. Other players have a mode button which, when held pressed, sequences through a number of track selection 1s modes, of which normal sequential mode is one, and random mode is another. The single button 24 is slightly more convenient, but the invention can be used with either kind of CD-player. It is 19 recognised that there are very few proprietarily-available 2o CD-players that do not have some way of setting the CD-player to 2i play the tracks on a random basis.
23 On many CD-players, the random mode can be set so that the tracks 24 follow each other automatically, or so that the user must press a "continue" button to step to the next randomly-selected track.
27 Fig 2 shows the manner of arranging what is recorded on the tracks 28 of the CD. The first track 25 has three segments, 26,27,28. In 29 the 1st segment 26 (first, that is to say, in time, i.e the first 3o segment 26 is the segment that is heard first when the track 25 is 3t played) a musical chord has been recorded. For example, the 1st 32 segment 26 of track 25 is a recording of the notes middle-C, the E
33 next above, and the G next above that, played together on a piano, 34 whereby the segment 26 is a pre-recording of a C-major triad.
3s The lst segment 26 lasts for a few seconds. The 1st segment is 37 then followed (in time) by the 2nd segment 27, which comprises a 3s pause, of silence. The 2nd segment lasts long enough to give the 3s student the opportunity to recognise and identify the chord, and to 4o speak out the name thereof. The 3rd segment 28 comprises a 1 recording of spoken words, and is an announcement of the name of 2 the chord, thus "C-major". The spoken words may include such other 3 information as, for example, whether the chord is inverted, and at 4 which octave it is pitched. If desired, the spoken words may omit
11 There is a teaching aid that is wall known for teaching reading, t2 called Flash Cards. The flash-cards are shown, in random order, to 13 the student, each card for a short time. The flash-cards have 14 respective words printed thereon, and the student must guess or state the word. The flash-cards can be shuffled, and presented to is the student in random order, whereby the student cannot learn the 17 words simply by remembering which word comes next in a series.
19 The invention provides a system for presenting musical chords, and 2o the like, for identification. The system may be identified, by 21 comparison with flash-cards, as a FLASH CHORD (TMj system. It is 22 an aim of the invention to provide a convenient and economical 23 means whereby a student can be presented with musical chords, or 24 the like, for identification, in much the same way as flash-cards are used to present a student with words for identification.
3o In its preferred form, the invention provides a Compact Disc, of 31 the very common 12 centimetre type. The CD includes several 32 tracks, in fact up to as many as ninety-nine tracks. Each track on 33 the CD has a first segment, on which is recorded a chord or other 34 item to be recognised and identified (or memorised). The track then has a second segment, which comprises a pause of silence. The 36 track then plays a recorded announcement, in voice, as to what the 37 chord actually was, i.e C-major, etc. The CD may have all the 38 chords played on a single instrument, or on several instruments.
4o The said CD is played on a CD-player, of the kind which has a 1 facility for random selection of the tracks. The tracks come up in 2 random order, and the student seeks to identify each chord before 3 the announcement confirms or denies his answer.
The system is suitable for private drilling by the student, since a the feedback to the student is immediate. The system is also 7 suitable for testing, in which the music teacher observes the s student's performance, and can quickly recognise which particular s aspects are giving the student trouble.
11 The system is aimed at improving the student's ability to sight-read 12 rapidly from printed sheet music. The system is also aimed at 13 recognising the structure of a piece of music "by ear", i.e to be 14 able to play the music simply from having heard it. For example, in order to be able to play music by ear, i.e to be able to listen 16 to a tune or piece of music, and then try to play that music on the 17 piano, or on the guitar, a person has to be able to identify the 18 chords he hears - here a major chord, there a minor-7th, and so on.
is 2o For sight reading, a student wishes to learn how to look at printed 21 sheet music, and to "visualise", in his mind's ear, how that music 22 will sound, when played. A person who has this skill of sight-23 reading at its most refined is able to look at a piece of sheet 24 music, perhaps of an orchestral work, and to make a meaningful assessment whether he likes the way the flutes come in, in bar 74.
27 Such skill is perhaps not available to all. But even to those to 28 whom it is available, the skill has to be learned, which means it 2s has to be learned systematically. When learning to read, for 3o example, a child learns the letters of the alphabet as individual 3i elements. These are the basic building blocks of words, without a 32 mastery of which the words themselves can only be learned by rote.
33 A mastery of the building blocks of language is acquired step by 34 step, progressively enabling the child to build his own words.
36 So with music. A mastery of the building blocks of music, i.e 37 chords, similarly moves in steps, whereby an easy familiarity with 3s the basic building blocks leads on, in steps, to the more refined 3s skills. First, the student learns to manage chords, in isolation.
4o Then, he learns to manage chords as sets, e.g dominant, 7th, sub-1 dominant, relative minor, etc. Then, he learns the traditional 2 ways music is constructed, as chord sequences, from simple 3 accompaniments, as in a 12-bar pop-tune, to complex but highly 4 structured tensions and resolutions, as in a Schubert sonata. He does this first with a single instrument, such as piano or guitar, a for which the sheet music presents the chord as an integrated, 7 easily recognisable, pattern of notes. Then he progresses to doing 8 it with chords as played by a whole orchestra or band, where the 9 difficulty of discerning the chords is compounded by the fact that 1o the notes are spread over many instruments. But the skill of 11 recognising how even the most complex multi-instrument music is 12 constructed can be learned the more easily, by a thorough 13 grounding, step by step, in the skills as taught by the CD system.
The CD system as described herein may be regarded as being valuable 1e at all levels, from a child taking his first piano lesson, to a 17 maestro honing his listening and interpretive skills.
19 It may be noted that the effect of flash-cards, as used for 2o teaching words to children, can be accomplished alternatively by 21 programming a computer to flash words on the screen, in random 22 order, for identification by the student. So with the Flash Chords 23 (TM) system - a computer could be programmed to randomise the 24 presentation of musical chords, as sounds, in a similar way.
However, as explained in detail herein, the CD system lends itself 2s very well, and very economically, to a Flash-Chords-based system 27 for learning music.
DETAILED DESCRIPTION OF PREFERRED EMBODIMENTS
32 By way of further explanation of the invention, exemplary 33 embodiments of the invention will now be described with reference 34 to the accompanying drawings, in which:
36 Fig 1 is an illustration of a Compact Disc, and of a CD-player, for 37 putting the invention into practice.
38 Fig 2 is a diagrammatic representation of what is recorded on some 39 of the tracks of the CD .
1 The apparatuses shown in the accompanying drawings and described 2 below are examples which embody the invention. It should be noted 3 that the scope of the invention is defined by the accompanying claims, and not necessarily by specific features of exemplary embodiments.
7 The Compact Disc 20 shown in Fig 1 has material recorded thereon, s the material being separated, on the CD, into several separate 9 tracks.
to ~1 The CD-player 23 shown in Fig 1 has a selector control 24 for ~2 setting the CD-player into random-play mode. Many CD-players, as 13 in Fig 1, have a specific button 24 that can be pressed to enter 14 the random-track mode. Other players have a mode button which, when held pressed, sequences through a number of track selection 1s modes, of which normal sequential mode is one, and random mode is another. The single button 24 is slightly more convenient, but the invention can be used with either kind of CD-player. It is 19 recognised that there are very few proprietarily-available 2o CD-players that do not have some way of setting the CD-player to 2i play the tracks on a random basis.
23 On many CD-players, the random mode can be set so that the tracks 24 follow each other automatically, or so that the user must press a "continue" button to step to the next randomly-selected track.
27 Fig 2 shows the manner of arranging what is recorded on the tracks 28 of the CD. The first track 25 has three segments, 26,27,28. In 29 the 1st segment 26 (first, that is to say, in time, i.e the first 3o segment 26 is the segment that is heard first when the track 25 is 3t played) a musical chord has been recorded. For example, the 1st 32 segment 26 of track 25 is a recording of the notes middle-C, the E
33 next above, and the G next above that, played together on a piano, 34 whereby the segment 26 is a pre-recording of a C-major triad.
3s The lst segment 26 lasts for a few seconds. The 1st segment is 37 then followed (in time) by the 2nd segment 27, which comprises a 3s pause, of silence. The 2nd segment lasts long enough to give the 3s student the opportunity to recognise and identify the chord, and to 4o speak out the name thereof. The 3rd segment 28 comprises a 1 recording of spoken words, and is an announcement of the name of 2 the chord, thus "C-major". The spoken words may include such other 3 information as, for example, whether the chord is inverted, and at 4 which octave it is pitched. If desired, the spoken words may omit
5 the reference as to which key the chord is in, and may just state a the type of chord.
a The second track 29 also has three corresponding segments, but in 9 this case the chord recorded, and described, is C-minor-7th.
11 The rest of the tracks on the CD 20 are prepared in a similar way, 12 each illustrating a different chord.
14 In use, the student sets the control 24 on the CD-player 23 to "random play". He then listens to the tracks 25,29... as they come 16 up in random order, and he attempts to identify each chord as it is 17 played, before the 3rd segment voice confirms or denies his answer.
1s Each track is in the region of fifteen or twenty seconds long, as 2o to total playing time. The pause after the playing of the chord 21 should be in the region of five or seven seconds. Of course, 22 ninety-nine twenty-second tracks amounts to a total playing time of 23 thirty-three minutes, which can easily be accommodated on a CD.
24 Indeed, there is ample room, per track, to present more material than just a single chord, if that is desired.
27 CD-players generally have provision for dealing with up to ninety-28 nine tracks. The number ninety-nine comes from the fact that the 2s track display 30 on the CD-player has two digits. There is no 3o technical reason why CD-players could not select from a larger 31 number of tracks, and no reason why the CD itself should be limited 32 to ninety-nine tracks. However, as a matter of actual fact, 33 virtually all CD-players on the market have a two-digit display as 34 to which track has been selected, whereby the CD-player cannot handle more than ninety-nine tracks per CD.
37 It is a common option for CD-players to be capable of holding more 3s than one CD, in a magazine. Such CD-players can be set to randomly 39 select any track on any disc. The display, in that case, has a 4o third digit 32, but this third digit is used to indicate which CD
a The second track 29 also has three corresponding segments, but in 9 this case the chord recorded, and described, is C-minor-7th.
11 The rest of the tracks on the CD 20 are prepared in a similar way, 12 each illustrating a different chord.
14 In use, the student sets the control 24 on the CD-player 23 to "random play". He then listens to the tracks 25,29... as they come 16 up in random order, and he attempts to identify each chord as it is 17 played, before the 3rd segment voice confirms or denies his answer.
1s Each track is in the region of fifteen or twenty seconds long, as 2o to total playing time. The pause after the playing of the chord 21 should be in the region of five or seven seconds. Of course, 22 ninety-nine twenty-second tracks amounts to a total playing time of 23 thirty-three minutes, which can easily be accommodated on a CD.
24 Indeed, there is ample room, per track, to present more material than just a single chord, if that is desired.
27 CD-players generally have provision for dealing with up to ninety-28 nine tracks. The number ninety-nine comes from the fact that the 2s track display 30 on the CD-player has two digits. There is no 3o technical reason why CD-players could not select from a larger 31 number of tracks, and no reason why the CD itself should be limited 32 to ninety-nine tracks. However, as a matter of actual fact, 33 virtually all CD-players on the market have a two-digit display as 34 to which track has been selected, whereby the CD-player cannot handle more than ninety-nine tracks per CD.
37 It is a common option for CD-players to be capable of holding more 3s than one CD, in a magazine. Such CD-players can be set to randomly 39 select any track on any disc. The display, in that case, has a 4o third digit 32, but this third digit is used to indicate which CD
6 1 the selected track has been selected from. The number of tracks 2 per CD that can be accommodated is still ninety-nine.
4 So, the number of tracks present on the CD should not exceed ninety-nine. Of course, it would be possible to develop a 6 CD-player which accommodated more tracks than just ninety-nine, and
4 So, the number of tracks present on the CD should not exceed ninety-nine. Of course, it would be possible to develop a 6 CD-player which accommodated more tracks than just ninety-nine, and
7 to develop a CD which made use of that player, and had, say, 999
8 tracks, or 9999. It is recognised that the practical limitation is
9 to ninety-nine tracks per CD, the limitation being imposed by the presence, in the market, of the large numbers of CD-players which 11 have two and only two digits for displaying which track has been 12 selected.
14 Of course, the limitation to ninety-nine tracks on the CD means that the capability of the CD format to hold large quantities of 18 recorded material is not being fully utilised. However, it is also 17 recognised that the limitation of the number of tracks to ninety-18 nine tracks is in fact just about right.
2o If there were only a small number of tracks, the student might too 21 quickly learn the chords on the tracks, not from working out and 22 recognising just what chord is being played, as a chord, but, in 23 effect, from identifying the track from the remembered sound for 24 that track, and then remembering what the announcer says is the chord on that track. The aim is for the student to say: "That 28 sounds like C-major-7th", rather than for the student to say: "That 27 sounds like track 3 and I remember that the announcement for track 28 3 is C-major-7th." The latter is a possibility if the total number 29 of tracks is small, but can be ignored as a possibility once the 3o number of tracks is more than a few dozen.
32 On the other hand, if the total number of tracks were very large, 33 i.e much over a hundred or so, even after a long period of randomly 34 accessing the tracks the student still would not have heard some of the tracks. Also, of course, there is a limit to the number of 36 possible musical chords, and more than about a hundred would simply 37 be a matter basically of repeating chords already present.
39 Thus, it is recognised that the limitation to ninety-nine tracks, 4o far from being a problem, is in fact highly appropriate to the 1 learning system of the invention.
3 As mentioned, the idea is for the student to learn to recognise each chord as a major triad, or as a minor 7th, etc, and not as the sound that comes from track 14. Such a learning system may be a regarded as applicable also to the learning of musical intervals.
7 Now, the 1st segment of the track contains a recording of a musical 8 interval, e.g a fifth, as a sequence of two notes. After a pause a of silence, the 3rd segment of the track plays the recording of a 1o voice announcement confirming that the interval was a fifth.
12 To be able to quickly identify a musical interval as a semitone, or 13 as an augmented fourth, etc, is very useful to the student seeking 14 to improve his sight-reading. Students generally find it easy enough, when reading printed sheet music, to recognise quickly that ie an interval, as observed on the paper, is a fifth. But the ability t7 to bring to mind, just as quickly, what a fifth actually sounds 18 like, is less readily acquired, and the CD system as described can 19 assist in that regard.
21 Thus, a CD can be produced, with up to ninety-nine tracks, each of 22 which contains a musical interval, in place of the chords as 23 previously described. If desired, a CD could be produced in which 24 some tracks have chords, and some tracks have intervals.
26 The CD system can also be used to promote the skill of rapidly 27 recognising chord sequences. Thus, the first segment of the track 28 may contain a recording of G-major-7th followed by C-major, and the 2s student would be expected to recognise this as being the resolution of the dominant 7th to the major key chord. Again, although 31 theoretically the number of possible chord sequences is endless, 32 the student who has been drilled to recognise a few dozen (i.e 33 within the limitation of ninety-nine tracks) of the more important 34 chord sequences, and to recognise the sequences by what they sound 36 like, using the CD system, is at a considerable advantage.
37 It may be noted that the number of tracks, i.e ninety-nine, is 38 quite unsuitable for some other applications. For example, it 39 might be considered that the random access facility of a CD-player 4o could be employed to provide a game of a spot-the-tune type. A CD
1 containing the tunes would be placed on the CD-player, and set to 2 random tracking, then the participants have to guess the tunes as 3 they come up in random order. But ninety-nine tracks is far too 4 small a number for that kind of game. The participants would quickly learn all the tunes, just by rote, if there are only a ninety-nine of them. Many more tracks than ninety-nine would be 7 needed, for the game to be a test of knowledge of tunes selected at random, and not a test simply of remembering what tunes are there.
The invention may be used to drill recognition of types of chords, 11 note intervals, chord sequences, etc, as described. It will be 12 understood that in these cases, within limits, it does not matter ~3 if the tracks are repeated, so long as the tracks are not repeated 14 so often that little idiosyncrasies in the track itself start to ~5 become recognisable, and identifiable. So, again, it is noted that 18 ninety-nine is a more or less ideal number for repeated drilling 17 exercises, of the kind as described herein, where repetition, if it ~8 occurs, does not change the nature of what is being learned.
t9 2o It should not be understood as a limitation of the invention that 21 the CD must contain a full ninety-nine tracks. Rather, the 22 emphasis is that the upper limitation of ninety-nine tracks is not 23 in fact a problem for the system as described herein, for the 24 reasons as described. As regards a lower limit of the number of 25 tracks, as mentioned the number of tracks should be large enough 26 that the student does not start to recognise each track, i.e that 27 he can identify which track is being played. It is suggested that 2s the minimum number of tracks par CD, from this standpoint, should 29 be around forty or fifty.
31 At this number, the music teacher can be reasonably sure that, if 32 the student gets the right answer, it is because the student has 33 learned to identify and recognise the chords, not because he has 34 remembered what is on the individual track.
3s The CD system may be employed in conjunction with a written sheet.
37 The sheet 34 contains the musical symbol 35 for the chord, 3s interval, chord sequence, or other item being played. The written 39 symbols 35, one for each track, appear on the sheet in numerical order of the tracks. Thus, if the chord as recorded on track 1 twenty-eight is a major 7th, the sheet would include, at position 2 twenty-eight on the sheet, the written symbol for a major 7th. The 3 student could ascertain which track was played by looking at the 4 track display on the CD-player; or the announcement in the 3rd segment might include the track number.
a 7 The number of the track should not be announced before the student 8 has given his answer. In fact, normal CD technology means that the 9 CD-player displays the track number before the track starts to play io - the track identification data being positioned, on the track, 11 before the 1st segment 26 recorded on the track. So, the student 12 preferably should seat himself, while undergoing the drills, so 13 that he cannot see or read the track numbers on the CD-player ~4 display, as they come up in random order. It would be all too easy for the student to acquire the habit, perhaps unconsciously, of 16 learning what is on a particular track, by rote, from the track t7 number, if the track number were available to the student before or 18 while he is trying to recognise and identify the musical item on is the track.
21 There are other things that have to be learned by drilling, which 22 number about a hundred. An example is the multiplication table.
23 Thus, a CD may be prepared, having ninety-nine tracks, in which the 24 lst segment of the track contains the drill element, e.g five times nine. Then, after the 2nd segment pause, the 3rd segment contains 2s the voice announcement forty-five. While the CD system can be used 27 for drilling the multiplication table, such use is not quite so 28 suited to the CD system as the musical drills as described are 2s suited to the CD system. Of course, a person must remember the 3o multiplication table. But preferably, he should remember it as a 31 table. Learning by sound does not bring out the relationships.
32 That is to say, an important component of what really needs to be 33 learned, in respect of multiplication tables, is not present in 34 audio drilling. The CD system is of not so suited to drilling things that are not actually themselves sounds, but are merely the 38 sound equivalents of something that is basically visual, and in 37 which a pattern is important, and the pattern can only be discerned 38 visually.
4o By contrast, the CD system is of course ideally suited to drilling 1 things that are themselves sounds, and especially musical sounds.
3 It is much better for the student to be able to recall what five 4 times seven is from having learned the multiplication table 5 visually, so he can see and gain understanding of the patterns, 6 rather than from having remembered the sound. But the latter, of 7 course, does at least leave the person knowing his multiplication 8 tables.
a 1o So also, a person wishing to learn the periodic table of the 11 elements, by mental drilling, might try the CD system, on the basis 12 that the periodic table lends itself to learning ninety-nine items 13 of data. However, it is even more important with the periodic 14 table, than it was with the multiplication table, for the student to understand the patterns and relationships, and this is understanding can only come from visual assimilation of the data 17 that makes up the table. It is recognised that, with subjects such 18 as the periodic table, there would be little point in drilling by 1s random selection, since it is the periodicity that needs to be learned.
22 Again, the CD system is of little use as an aid to the drilling of 23 vocabulary in a foreign language. For vocabulary training, the 24 first segment of a track says the word in the foreign language, and the 3rd segment, after the pause, announces the equivalent word in 28 the native language. However, the CD system is limited to ninety-27 nine tracks, and ninety-nine words is nowhere near enough to be 28 useful as a vocabulary builder (bearing in mind that participles 2s and words with the same root but different endings, all count as separate words, and need their own tracks).
32 The CD system as described herein is for use when order of the data 33 is not relevant. If the data is of the type such that it should be 34 learned as a pattern, it had better be learned visually - though of course learning it by random audio drilling is better than not 3s learning it at all. But the mind finds it all too easy to learn 37 things according to the order in which they are presented, even 38 when the order is immaterial to the thing learned. But where it is 3s important to learn the order, learning by means of a system that randomises audio sounds can be contra-indicated.
1 As mentioned, it would take away from the efficacy of the teaching 2 system as described herein if the student could identify what is on 3 the track by identifying the track itself. Thus, the designer 4 should take care not to make one or some of the tracks noticeably longer than the others, because then the student might learn to 6 identify that track by its length, and remember what is on it that 7 way. The designer should see to it that there is nothing s distinctive on any of the tracks that would enable the student to 9 identify what is on the track by identifying the track.
11 As mentioned, some CD-players have a specific button for "random 12 play". Other CD-players need to be programmed by the user, e.g by 13 pressing control buttons in sequence, in order to put the CD-player 14 in random-play mode. The specific-button is most convenient, while programming for random play is next in convenience. At the other 16 end of the scale, there would be little point in using the flash-17 chord CD with a CD-player that does not have a random-play 18 capability at all. But it is recognised that virtually all 19 CD-players do have random-play capability.
21 The CD system as described herein may also be used for training a 22 person to recognise absolute pitch, wherein a person hears a note, 23 in isolation, and can recognise it as e.g middle-C. However, 24 generally, the ability to recognise absolute pitch is not particularly advantageous to a music student - not as compared with 26 the ability to quickly recognise and identify a chord or interval, 27 immediately upon hearing it.
29 As described, the invention in its preferred form makes use of a 3o conventional audio CD-player. Such CD-players are often operated 31 in a music system, whereby the sounds on the CD are played through 32 a hi-fi amplifier and loudspeakers. In other cases, the CD-player 33 is a component of a computer, and the sounds on the CD are played 34 through the speakers installed on the computer.
36 It is also possible for CDs to be played in a DVD player. The 37 expression CD-player as used herein should be understood as 38 including players generally that are capable of playing CDs, and 3s have a random play capability, and this can include a DVD player.
1 DVD players do not have the limitation of only being able to access 2 ninety-nine tracks. However, as explained, it is recognised that 3 adding more tracks does not add much to the ability of the system 4 to drill the student. The more tracks, the more possible it is, given that the tracks are selected randomly, that some of the a tracks would never come up.
8 The use of a DVD player, and DVD discs, means that visual images 9 may be utilised. It is highly effective, when drilling students in 1o musical chords, for example, for the students to see the chords 11 actually being played.
13 When DVD technology is being used, the 3rd segment of the track may 14 contain a pre-recorded visual image of the chord being played on a i5 piano, or guitar, and this would be displayed to the student (e.g 16 on a computer screen) along with the voice announcement.
18 The visual image may also (or instead) comprise an image of a music 19 staff, with the notes making up the chord marked thereon. When the 2o written forms of the chords as displayed on the computer, there 21 would be little point in retaining the sheet 34.
23 The expression record medium (RM) as used herein is intended to be 24 generic to both CD and DVD technolgy, and to other technologies 25 also, which might come to be developed, in which many separately-26 slectable tracks are pre-recorded on the RM, and the RM-player can 27 be set to select which track to play, automatically, in random 28 order .
14 Of course, the limitation to ninety-nine tracks on the CD means that the capability of the CD format to hold large quantities of 18 recorded material is not being fully utilised. However, it is also 17 recognised that the limitation of the number of tracks to ninety-18 nine tracks is in fact just about right.
2o If there were only a small number of tracks, the student might too 21 quickly learn the chords on the tracks, not from working out and 22 recognising just what chord is being played, as a chord, but, in 23 effect, from identifying the track from the remembered sound for 24 that track, and then remembering what the announcer says is the chord on that track. The aim is for the student to say: "That 28 sounds like C-major-7th", rather than for the student to say: "That 27 sounds like track 3 and I remember that the announcement for track 28 3 is C-major-7th." The latter is a possibility if the total number 29 of tracks is small, but can be ignored as a possibility once the 3o number of tracks is more than a few dozen.
32 On the other hand, if the total number of tracks were very large, 33 i.e much over a hundred or so, even after a long period of randomly 34 accessing the tracks the student still would not have heard some of the tracks. Also, of course, there is a limit to the number of 36 possible musical chords, and more than about a hundred would simply 37 be a matter basically of repeating chords already present.
39 Thus, it is recognised that the limitation to ninety-nine tracks, 4o far from being a problem, is in fact highly appropriate to the 1 learning system of the invention.
3 As mentioned, the idea is for the student to learn to recognise each chord as a major triad, or as a minor 7th, etc, and not as the sound that comes from track 14. Such a learning system may be a regarded as applicable also to the learning of musical intervals.
7 Now, the 1st segment of the track contains a recording of a musical 8 interval, e.g a fifth, as a sequence of two notes. After a pause a of silence, the 3rd segment of the track plays the recording of a 1o voice announcement confirming that the interval was a fifth.
12 To be able to quickly identify a musical interval as a semitone, or 13 as an augmented fourth, etc, is very useful to the student seeking 14 to improve his sight-reading. Students generally find it easy enough, when reading printed sheet music, to recognise quickly that ie an interval, as observed on the paper, is a fifth. But the ability t7 to bring to mind, just as quickly, what a fifth actually sounds 18 like, is less readily acquired, and the CD system as described can 19 assist in that regard.
21 Thus, a CD can be produced, with up to ninety-nine tracks, each of 22 which contains a musical interval, in place of the chords as 23 previously described. If desired, a CD could be produced in which 24 some tracks have chords, and some tracks have intervals.
26 The CD system can also be used to promote the skill of rapidly 27 recognising chord sequences. Thus, the first segment of the track 28 may contain a recording of G-major-7th followed by C-major, and the 2s student would be expected to recognise this as being the resolution of the dominant 7th to the major key chord. Again, although 31 theoretically the number of possible chord sequences is endless, 32 the student who has been drilled to recognise a few dozen (i.e 33 within the limitation of ninety-nine tracks) of the more important 34 chord sequences, and to recognise the sequences by what they sound 36 like, using the CD system, is at a considerable advantage.
37 It may be noted that the number of tracks, i.e ninety-nine, is 38 quite unsuitable for some other applications. For example, it 39 might be considered that the random access facility of a CD-player 4o could be employed to provide a game of a spot-the-tune type. A CD
1 containing the tunes would be placed on the CD-player, and set to 2 random tracking, then the participants have to guess the tunes as 3 they come up in random order. But ninety-nine tracks is far too 4 small a number for that kind of game. The participants would quickly learn all the tunes, just by rote, if there are only a ninety-nine of them. Many more tracks than ninety-nine would be 7 needed, for the game to be a test of knowledge of tunes selected at random, and not a test simply of remembering what tunes are there.
The invention may be used to drill recognition of types of chords, 11 note intervals, chord sequences, etc, as described. It will be 12 understood that in these cases, within limits, it does not matter ~3 if the tracks are repeated, so long as the tracks are not repeated 14 so often that little idiosyncrasies in the track itself start to ~5 become recognisable, and identifiable. So, again, it is noted that 18 ninety-nine is a more or less ideal number for repeated drilling 17 exercises, of the kind as described herein, where repetition, if it ~8 occurs, does not change the nature of what is being learned.
t9 2o It should not be understood as a limitation of the invention that 21 the CD must contain a full ninety-nine tracks. Rather, the 22 emphasis is that the upper limitation of ninety-nine tracks is not 23 in fact a problem for the system as described herein, for the 24 reasons as described. As regards a lower limit of the number of 25 tracks, as mentioned the number of tracks should be large enough 26 that the student does not start to recognise each track, i.e that 27 he can identify which track is being played. It is suggested that 2s the minimum number of tracks par CD, from this standpoint, should 29 be around forty or fifty.
31 At this number, the music teacher can be reasonably sure that, if 32 the student gets the right answer, it is because the student has 33 learned to identify and recognise the chords, not because he has 34 remembered what is on the individual track.
3s The CD system may be employed in conjunction with a written sheet.
37 The sheet 34 contains the musical symbol 35 for the chord, 3s interval, chord sequence, or other item being played. The written 39 symbols 35, one for each track, appear on the sheet in numerical order of the tracks. Thus, if the chord as recorded on track 1 twenty-eight is a major 7th, the sheet would include, at position 2 twenty-eight on the sheet, the written symbol for a major 7th. The 3 student could ascertain which track was played by looking at the 4 track display on the CD-player; or the announcement in the 3rd segment might include the track number.
a 7 The number of the track should not be announced before the student 8 has given his answer. In fact, normal CD technology means that the 9 CD-player displays the track number before the track starts to play io - the track identification data being positioned, on the track, 11 before the 1st segment 26 recorded on the track. So, the student 12 preferably should seat himself, while undergoing the drills, so 13 that he cannot see or read the track numbers on the CD-player ~4 display, as they come up in random order. It would be all too easy for the student to acquire the habit, perhaps unconsciously, of 16 learning what is on a particular track, by rote, from the track t7 number, if the track number were available to the student before or 18 while he is trying to recognise and identify the musical item on is the track.
21 There are other things that have to be learned by drilling, which 22 number about a hundred. An example is the multiplication table.
23 Thus, a CD may be prepared, having ninety-nine tracks, in which the 24 lst segment of the track contains the drill element, e.g five times nine. Then, after the 2nd segment pause, the 3rd segment contains 2s the voice announcement forty-five. While the CD system can be used 27 for drilling the multiplication table, such use is not quite so 28 suited to the CD system as the musical drills as described are 2s suited to the CD system. Of course, a person must remember the 3o multiplication table. But preferably, he should remember it as a 31 table. Learning by sound does not bring out the relationships.
32 That is to say, an important component of what really needs to be 33 learned, in respect of multiplication tables, is not present in 34 audio drilling. The CD system is of not so suited to drilling things that are not actually themselves sounds, but are merely the 38 sound equivalents of something that is basically visual, and in 37 which a pattern is important, and the pattern can only be discerned 38 visually.
4o By contrast, the CD system is of course ideally suited to drilling 1 things that are themselves sounds, and especially musical sounds.
3 It is much better for the student to be able to recall what five 4 times seven is from having learned the multiplication table 5 visually, so he can see and gain understanding of the patterns, 6 rather than from having remembered the sound. But the latter, of 7 course, does at least leave the person knowing his multiplication 8 tables.
a 1o So also, a person wishing to learn the periodic table of the 11 elements, by mental drilling, might try the CD system, on the basis 12 that the periodic table lends itself to learning ninety-nine items 13 of data. However, it is even more important with the periodic 14 table, than it was with the multiplication table, for the student to understand the patterns and relationships, and this is understanding can only come from visual assimilation of the data 17 that makes up the table. It is recognised that, with subjects such 18 as the periodic table, there would be little point in drilling by 1s random selection, since it is the periodicity that needs to be learned.
22 Again, the CD system is of little use as an aid to the drilling of 23 vocabulary in a foreign language. For vocabulary training, the 24 first segment of a track says the word in the foreign language, and the 3rd segment, after the pause, announces the equivalent word in 28 the native language. However, the CD system is limited to ninety-27 nine tracks, and ninety-nine words is nowhere near enough to be 28 useful as a vocabulary builder (bearing in mind that participles 2s and words with the same root but different endings, all count as separate words, and need their own tracks).
32 The CD system as described herein is for use when order of the data 33 is not relevant. If the data is of the type such that it should be 34 learned as a pattern, it had better be learned visually - though of course learning it by random audio drilling is better than not 3s learning it at all. But the mind finds it all too easy to learn 37 things according to the order in which they are presented, even 38 when the order is immaterial to the thing learned. But where it is 3s important to learn the order, learning by means of a system that randomises audio sounds can be contra-indicated.
1 As mentioned, it would take away from the efficacy of the teaching 2 system as described herein if the student could identify what is on 3 the track by identifying the track itself. Thus, the designer 4 should take care not to make one or some of the tracks noticeably longer than the others, because then the student might learn to 6 identify that track by its length, and remember what is on it that 7 way. The designer should see to it that there is nothing s distinctive on any of the tracks that would enable the student to 9 identify what is on the track by identifying the track.
11 As mentioned, some CD-players have a specific button for "random 12 play". Other CD-players need to be programmed by the user, e.g by 13 pressing control buttons in sequence, in order to put the CD-player 14 in random-play mode. The specific-button is most convenient, while programming for random play is next in convenience. At the other 16 end of the scale, there would be little point in using the flash-17 chord CD with a CD-player that does not have a random-play 18 capability at all. But it is recognised that virtually all 19 CD-players do have random-play capability.
21 The CD system as described herein may also be used for training a 22 person to recognise absolute pitch, wherein a person hears a note, 23 in isolation, and can recognise it as e.g middle-C. However, 24 generally, the ability to recognise absolute pitch is not particularly advantageous to a music student - not as compared with 26 the ability to quickly recognise and identify a chord or interval, 27 immediately upon hearing it.
29 As described, the invention in its preferred form makes use of a 3o conventional audio CD-player. Such CD-players are often operated 31 in a music system, whereby the sounds on the CD are played through 32 a hi-fi amplifier and loudspeakers. In other cases, the CD-player 33 is a component of a computer, and the sounds on the CD are played 34 through the speakers installed on the computer.
36 It is also possible for CDs to be played in a DVD player. The 37 expression CD-player as used herein should be understood as 38 including players generally that are capable of playing CDs, and 3s have a random play capability, and this can include a DVD player.
1 DVD players do not have the limitation of only being able to access 2 ninety-nine tracks. However, as explained, it is recognised that 3 adding more tracks does not add much to the ability of the system 4 to drill the student. The more tracks, the more possible it is, given that the tracks are selected randomly, that some of the a tracks would never come up.
8 The use of a DVD player, and DVD discs, means that visual images 9 may be utilised. It is highly effective, when drilling students in 1o musical chords, for example, for the students to see the chords 11 actually being played.
13 When DVD technology is being used, the 3rd segment of the track may 14 contain a pre-recorded visual image of the chord being played on a i5 piano, or guitar, and this would be displayed to the student (e.g 16 on a computer screen) along with the voice announcement.
18 The visual image may also (or instead) comprise an image of a music 19 staff, with the notes making up the chord marked thereon. When the 2o written forms of the chords as displayed on the computer, there 21 would be little point in retaining the sheet 34.
23 The expression record medium (RM) as used herein is intended to be 24 generic to both CD and DVD technolgy, and to other technologies 25 also, which might come to be developed, in which many separately-26 slectable tracks are pre-recorded on the RM, and the RM-player can 27 be set to select which track to play, automatically, in random 28 order .
Claims (17)
- CLAIM 1. Apparatus for training the ear, comprising a Compact Disc (CD), having tracks, wherein:
the CD is suitable for use in conjunction with a CD-player, of the kind that has an operable track selector, for selecting which track of the CD is to be played;
the CD has many individual tracks recorded thereon, of which each track can be selected and played individually by operating the track selector;
in respect of each of the many tracks, the track includes first, second, and third segments;
the first segment of the track comprises a pre-recording of a test item, the test item being of such a nature that a student, upon the test item being played, can try to recognise and identify the test item;
the second segment comprises a pause, of silence, which is long enough that the student can formulate and enunciate his answer;
the third segment comprises a pre-recording of the answer that the student would have given, if the student had properly recognised and identified the test item of the first segment. - Claim 2. Combination of the CD apparatus of claim 1 with a CD-player, wherein:
the CD-player includes a means for playing the tracks on the CD, as an audible sound output;
the CD-player has an operable track-selector means;
the nature of the CD-player is such that the operable track selector can be set to a random-play mode, in which the tracks on the CD are played in automatically selected random order. - Claim 3. As in claim 2, wherein the number of tracks on the CD is between forty and ninety-nine.
- Claim 4. As in claim 2, wherein the test item pre-recorded on the 1st segment of the track is an item of music.
- Claim 5. As in claim 4, wherein the items of music pre-recorded on the tracks are notes, chords, sequences of notes, or sequences of chords.
- Claim 6. As in claim 2, wherein the pre-recorded answer, in the third segment, comprises an announcement in the form of spoken words.
- Claim 7. As in claim 2, wherein the pause, in the second segment, is about 5 seconds.
- Claim 8. As in claim 2, wherein, in respect of substantially all the tracks, the length of the track is no more than about twenty seconds.
- Claim 9. As in claim 2, wherein all the tracks are substantially the same, in the sense that each track contains nothing distinctive or unique to that track, which would enable a listener to recognise which track was being played, as distinct from recognising the sound on the track.
- Claim 10. As in claim 2, wherein:
the number of tracks on the CD is between forty and ninety-nine;
the test item pre-recorded on the 1st segment of the track is an item of music;
the items of music pre-recorded on the tracks are notes, chords, sequences of notes, or sequences of chords;
the pre-recorded answer, in the third segment, comprises an announcement in the form of spoken words;
the pause, in the second segment, is about 5 seconds;
in respect of substantially all the tracks, the length of the track is no more than about twenty seconds;
and all the tracks are substantially the same, in the sense that each track contains nothing distinctive or unique to that track, which would enable a listener to recognise which track was being played, as distinct from recognising the sound on the track. - Claim 11. As in claim 2, wherein:
the combination also includes a written sheet;
on the sheet is printed a set of images, which correspond respectively to the tracks on the CD, and a means for identifying the respective track;
each image on the sheet contains a musical staff representation of the musical sound that is pre-recorded in the first segment of the respective track. - CLAM 12. A procedure for training the ear, comprising the steps of:
providing the combination of a CD and a CD-player as claimed in claim 2;
placing the CD in the CD-player;
and setting the track selector to random-mode, whereby the CD-player plays the tracks on the CD automatically in a random order. - CLAIM 13. Apparatus for training the ear, comprising a record medium (RM), having tracks, wherein:
the RM is suitable for use in conjunction with a RM-player, of the kind that has an operable track selector, for selecting which track of the RM is to be played;
the RM has many individual tracks recorded thereon, of which each track can be selected and played individually by operating the track selector;
in respect of each of the many tracks, the track includes first, second, and third segments;
the first segment of the track comprises a pre-recording of a test item, the test item being of such a nature that a student, upon the test item being played, can try to recognise and identify the test item;
the second segment comprises a pause, of silence, which is long enough that the student can formulate and enunciate his answer;
the third segment comprises a pre-recording of the answer that the student would have given, if the student had properly recognised and identified the test item of the first segment. - Claim 14. Combination of the RM apparatus of claim 13 with a RM-player, wherein:
the RM-player includes a means for playing the tracks on the RM;
the RM-player has an operable track-selector means;
the nature of the RM-player is such that the operable track selector can be set to a random-play mode, in which the tracks on the RM are played in automatically selected random order. - Claim 15. As in claim 14, wherein:
the RM includes, in respect of at least some of the tracks, respective pre-recordings of visual images;
the RM player is capable of displaying the visual images;
the visual images are linked respectively to the test items recorded on the first segments of the tracks. - Claim 16. As in claim 15, wherein the test item is an audio recording of a musical chord, and the visual image is an image of that same chord being played on a musical instrument.
- Claim 17. As in claim 15, wherein the test item is an audio recording of a musical chord, and the visual image is an image of a music staff with the notes of the chord written thereon.
Applications Claiming Priority (2)
| Application Number | Priority Date | Filing Date | Title |
|---|---|---|---|
| GB9902335.0 | 1999-02-02 | ||
| GBGB9902335.0A GB9902335D0 (en) | 1999-02-02 | 1999-02-02 | Ear training method |
Publications (1)
| Publication Number | Publication Date |
|---|---|
| CA2297518A1 true CA2297518A1 (en) | 2000-08-02 |
Family
ID=10846993
Family Applications (1)
| Application Number | Title | Priority Date | Filing Date |
|---|---|---|---|
| CA 2297518 Abandoned CA2297518A1 (en) | 1999-02-02 | 2000-02-01 | Ear training method |
Country Status (2)
| Country | Link |
|---|---|
| CA (1) | CA2297518A1 (en) |
| GB (1) | GB9902335D0 (en) |
Cited By (2)
| Publication number | Priority date | Publication date | Assignee | Title |
|---|---|---|---|---|
| US6414229B1 (en) | 2000-12-14 | 2002-07-02 | Samgo Innovations Inc. | Portable electronic ear-training apparatus and method therefor |
| CN1984702B (en) * | 2004-07-15 | 2010-12-08 | 创新科技有限公司 | Handheld device and method of composing music on a handheld device |
-
1999
- 1999-02-02 GB GBGB9902335.0A patent/GB9902335D0/en not_active Ceased
-
2000
- 2000-02-01 CA CA 2297518 patent/CA2297518A1/en not_active Abandoned
Cited By (2)
| Publication number | Priority date | Publication date | Assignee | Title |
|---|---|---|---|---|
| US6414229B1 (en) | 2000-12-14 | 2002-07-02 | Samgo Innovations Inc. | Portable electronic ear-training apparatus and method therefor |
| CN1984702B (en) * | 2004-07-15 | 2010-12-08 | 创新科技有限公司 | Handheld device and method of composing music on a handheld device |
Also Published As
| Publication number | Publication date |
|---|---|
| GB9902335D0 (en) | 1999-03-24 |
Similar Documents
| Publication | Publication Date | Title |
|---|---|---|
| Hallam | The development of memorisation strategies in musicians: Implications for education | |
| US4819539A (en) | Music teaching system and apparatus | |
| Perez et al. | Recombinative generalization: An exploratory study in musical reading | |
| Berti et al. | Different interference effects in musicians and a control group | |
| Dunn | Teaching for lifelong, intuitive listening | |
| Kelly | An investigation of the influence of timbre on gender and instrument association | |
| Kostka | Teach them how to practice | |
| US20070017351A1 (en) | Musical absolute pitch recognition instruction system and method | |
| CA2297518A1 (en) | Ear training method | |
| Rush | An experimental investigation of the effectiveness of training on absolute pitch in adult musicians | |
| Coveyduck | Vocalization and its effect on the intonation of a beginning instrumentalist | |
| Imreh et al. | Understanding and developing musical memory: The views of a concert pianist and a cognitive psychologist | |
| Robinson | How popular musicians teach | |
| Comeau | Playing by ear in the Suzuki Method: Supporting evidence and concerns in the context of piano playing | |
| Harris | An Investigation of the Effectiveness of an Intonation Training Program upon Junior and Senior High School Wind Instrumentalists. | |
| Paney | Directing attention in melodic dictation | |
| JP3825003B2 (en) | Multiplication learning system and secret article learning system | |
| KONDO | The effects of verbal and acoustic short-term memory on Japanese EFL learners’ sound recognition skills | |
| Kinney et al. | Does Melody Assist in the Reproduction of Novel Rhythm Patterns? | |
| Cole | What is performance?: And why should we teach it? | |
| Sheldon | Visual representation of music: Effects of beamed and beamless notation on music performance | |
| Azim | On teaching Americans to play mbira like Zimbabweans | |
| Martínez et al. | The role of repetition in aural identification of harmonic sequences | |
| Thorpe | Benefits of musical training on implicit memory and learning in healthy older adults and individuals with dementia | |
| Earney | The effects of aural rhythmic dictation on the sight-reading abilities of seventh-and eighth-grade band students |
Legal Events
| Date | Code | Title | Description |
|---|---|---|---|
| FZDE | Dead |