232 pages | 19 B/W Illus.
Aural Education: Reconceptualising Ear Training in Higher Music Learning explores the practice of musical ‘aural training’ from historical, pedagogical, psychological, musicological and cultural perspectives, and uses these to draw implications for its pedagogy, particularly within the context of higher music education.
The multi-perspective approach adopted by the author affords a broader and deeper understanding of this branch of music education, and of how humans relate to music more generally. The book extracts and examines one by one different parameters that appear central to ‘aural training’, proceeding in a gradual and well-organised way, at the same time constantly highlighting the multiple interconnections and organic unity of the many different operations that take place when we interact with music through any music-related activity. The resulting complex profile of the nature of our relationship with music, combined with an exploration of non-Western cultural perspectives, offer fresh insights on issues relating to musical ‘aural training’. Emerging implications are proposed in the form of broad pedagogical principles, applicable in a variety of different music educational settings.
Andrianopoulou propounds a holistic alternative to ‘aural training’, which acknowledges the richness of our relationship to music and is rooted in absorbed aural experience. The book is a key contribution to the existing literature on aural education, designed with researchers and educators in mind.
How it all started
1 – Tracing the history of ‘aural skills’
From practical learning tool to a source of pedagogical trouble
2 – Current views on ‘aural skills’ teaching
A lively and inconclusive discourse
3 – Aural perception
The human brain, a fascinating sound-processing machine
4 – Musical memory
Much more than playing by heart
5 – Musical mental imagery
The brain’s inner musical life
6 – Music notation and literacy
Bridge or barrier?
7 – Implicit and explicit forms of musical knowing
You can only know what you already know
8 – Music theory
Music’s changing shadow
9 – Embodied musical knowledge
It’s music to my ears – but not only
10 – Musicality
Synonymous to giftedness – or is it?
11 –An interview study
Exploring non-Western classical views of ‘aural training’ parameters
12 – Moving from ‘aural training’ to ‘aural education’
How humans relate to music: overarching characteristics and apposite pedagogical principles
13 – Enriching aural education with non-Western classical perspectives
More immersion in musical sound, more creativity
14 – Reflections and conclusions
Thoughts on the way(s) forward
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.