If you can play back a rhythm, orcan tell the difference between different types of sound effects, you have been training your ears.ĭeveloping your aural skills with ear training benefits you in a number of ways including improving memory, increasing confidence, developing your ability to improvise, and exercising your voice and intonation. “Aural skills” are musical listening skills that develop your ability to hear specifically in regards to music and sound, and ear training is the process of developing these skills.įor example, if you can listen to a song on the radio and play or sing it back, you have been training your ears. If you’ve only just picked up an instrument as an adult beginning to learn music, you might be surprised to find out that everyday activities like singing in the shower are the first steps in training your ears…Įven if you have never heard the term “ear training”, if you have performed as a musician or have ever taken a music lesson, the chances are that you have worked on ear training. But once you understand what ear training actually involves, you will realize that you have already been training your ears your entire life! Actively practicing ear training is just a more effective way to do it. You might even be worried that you’re tone deaf. Learning how to develop your ears may seem a difficult task. Whether you start with basic skills like clapping back a rhythm or singing a song by rote, or you develop more advanced aural skills like complex harmonies or music dictation, you can use ear training to improve your musical ear. Whatever age you are, your musicality will benefit from ear training. She has served as the chair of the Advanced Placement Music Theory Test Development Committee and as an AP reader, and is a regular consultant at AP workshops and summer Institutes.Do you love music? Are you learning to play music? Her current research interests include theory and analysis of popular and world musics. She has published articles reflecting her interests in the history of theory, theory and analysis of twentieth-century music, computer pitch recognition, and computer applications in music. Jane Piper Clendinning is professor of music theory at the Florida State University College of Music. Marvin is the 2012 recipient of the Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship. She is past president of the Society for Music Theory and is currently co-chair of the Advanced Placement Music Theory Test Development Committee. She has published in the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance. He has also served as president of the Music Theory Society of the Mid-Atlantic.Įlizabeth West Marvin is professor of music theory and former dean of academic affairs at the Eastman School of Music. A member of the editorial review board of the Journal of Music Theory Pedagogy, Phillips served for five years as chief faculty consultant for the Advanced Placement Examination in Music Theory. Schirmer, Transcontinental, GIA, and Shawnee Press. Joel Phillips is professor of music theory and composition at Westminster Choir College of Rider University and recipient of its Distinguished Teaching Award. He holds a Certificate in Dalcroze Eurhythmics from Carnegie Mellon University and has many years' experience as an accompanist for ballet and modern dance. He is author of the Spanish/English edition of General Rules of Accompaniment: José de Torres's Treatise of 1736 and has published articles in Theoria, Studies in Medievalism, The American Dalcroze Journal, and the Journal of Music Teacher Education. Paul Murphy is associate professor and Chair of music at Muhlenberg College.
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