possible uses of a kjepeating tape pjicorder in music …
TRANSCRIPT
POSSIBLE USES OF A KJEPEATING TAPE PJICORDER IN
MUSIC EAR TRAINING INSTRUCTION
by
CYNTHIA ANr A- RrS, B. l.E.
A THESIS
IK
MT;SIC THEORY
Submitted to the Graduate Faculty of Texas Tech University in
Partial FuliillTrent of the Requirements for
the Degree of
MASTER OF MUSIC
Approved
Ac.cepL ed
•<!' _ ' v . •- , X :.i
B-^ 1 - M ^uo
4 6
ACKNOWLEDGMENTS
I wish to express my appreciation to Dr. Judson Maynard for
his support and encouragement throughout the study; to Dr. Harold Luce
and Dr. Richard McGowan for their criticism and assistance.
11
CONTENTS
ACKNOWLEDGMENTS ii
I. INTRODUCTION AND DEFINITION OF TERMS 1
II. PHILOSOPHIES AND PROBLEMS IN EAR TRAINING 5
III. A SURVEY OF SELECTED EAR TRAINING TEXTS 12
IV. USES OF THE CANON REPEAT-CORDER 28
V. EXAMPLES OF EXERCISES 36
BIBLIOGRAPHY 58
iii
CHAPTER I
INTRODUCTION AND DEFINITION OF TERMS
Ear training, particularly dictation, has always posed a
problem for music theory teachers. Limited time, students' abilities,
and logistics involved in dictation create difficulties in teaching
this essential musical skill. A possible solution to some of these
problems is afforded by the use of taped, programmed materials in
dictation. The effectiveness of programmed instruction has been
proven, and programmed methods have been widely accepted by educators
within the past ten years. In 1962 Professor A. A, Lumsdaine of the
University of California, Los Angeles, stated, "The field of programmed
instruction is one which has witnessed a tremendous surge of interest
and development in the past few years, and which shows as yet no signs
of abating its phenomenal rate of growth." (Hughes, 1962, p. v)
Research in the use of magnetic tapes in dictation was con
ducted by Frank B. Cookson as early as 1949, and by 1959 Charles Spohn
investigated the use of tapes to develop aural skills. (Carlsen, 1964,
p. 140)
This thesis will explore possibilities for music ear training
instruction incorporating a specialized repeating tape machine, the
Canon Repeat-corder L. A review of various ear training texts and a
discussion of the problems involved in teaching dictation skills have
been included as background material prior to the study of the machine's
possible uses.
The scope of the thesis has been limited to an exploration of
possibilities. It is not meant to function as a text but as a source
of ideas for instructors who might wish to adopt the Canon Repeat-
corder for use in their pedagogy of music theory.
Definition of Terms
In discussing the pedagogy of theory and problems peculiar to
the ear training portion of theory, several terms must be made clear.
In order to proceed from a common ground, the terms which follow are
defined according to their use in this thesis.
Ear training is that portion of music education devoted to
the development of aural skills in relation to visual, manual and
vocal skills. Ear training involves the recognition of melodies,
harmonies, rhythms, intervals, and timbres. The ability to write
these elements either singly or in combination after hearing a
specific example played or sung is developed through music dictation,
an important tool in ear training. The instructor dictates (plays
or sings) material which the student translates into musical notation
on paper. A second important tool commonly used in ear training is
the singing of intervals, melodies, and rhythms at sight without
accompaniment; this procedure is commonly called sight singing. Both
sight singing and dictation are the conventional teaching methods used
in the pedagogy of ear training.
Several elements of music are commonly involved in music dic
tation. One of these is melody. A melody may be defined simply as a
sequence of pitches. Melodic dictation involves the transfer of a
linear aural stimulation, a melody, into a written response, the
musical notation of that melody.
Harmony is the simultaneous sounding of two or more
different pitches . True harmonic dictation demands the hearing of
these simultaneous sounding pitches as a whole rather than as several
melodic layers. The emphasis in harmonic dictation should be on the
vertical structure rather than on the melodic lines created by the
voices of a harmonic progression. At the same time, however, the
primary goal in harmonic dictation is that the student learn to hear
the function of each chord in relation to those around it.
Rhythm is the temporal relationship of one sound to another.
As a fundamental element of music, rhythm may be taken in dictation
alone or in combination with melody and/or harmony.
Timbre is the color or tone quality of a musical sound.
Although timbre is not as often used in dictation as the other
elements, it can and should be incorporated in dictation exercises
which require the recognition of instrumentation.
Texture is the element of music which deals with the ways
in which sounds are combined to create music. Texture is another
element which has been little used in dictation, but which can be
included in exercises which lead the student toward expanded aural
skills.
Within the study several aspects of programmed learning
have been discussed. Programmed learning, as defined by Espich
and Williams (1967, p. v ) , is "a planned sequence of experiences,
leading to proficiency, in terms of stimulus-response relationships."
They go on to define conditioning and stimulus response (1967, p. 6).
According to the behaviorist point of view, on which the majority of programs are based, changes in behavior are accomplished and maintained by a process known as conditioning.
The conditioning process is based on stimulus and response relationships. A stimulus is anything that elicits, or results in, a reaction from an organism; a response is, quite simply, the reaction to the stimulus.
The program, or sequence of experiences, is generally made
of frames. A frame is one step in a linear program designed to
elicit a desired response from the student in order to achieve a
specific instructional objective.
The immediate knowledge of the correctness of a response in
any given frame is called feedback. The correct response is located
near but not within the frame so that the student may check his
responses as he progresses.
The term solfege as used in this thesis refers to the class
ical method of solmization on movable do. The syllables used are:
do, re, mi, fa, sol, la, ti, and their chromatic alterations. Do is
always determined by the key signature. For instance, in a two-sharp
signature, D is d£; in a two-flat signature, B is . The starting
point of a scale may be determined by the mode being used, but the
key signature alone dictates the placement of do.
CHAPTER II
PHILOSOPHIES AND PROBLEMS IN EAR TRAINING
An important aspect of music ear training pedagogy centers
around the conflicting concepts of integrated and non-integrated
courses of study. Each method of instruction has its advantages
and disadvantages, indicating that neither method is ideal, but
that many educators prefer one over the other for various reasons.
The integrated course approaches every facet of music
theory through one of two instructors in one time period every day.
Although students in this system do have the advantage of consistent
teaching, the possibility exists that an instructor may give more
attention to one or two aspects of theory, perhaps those in which
he holds more interest or knowledge, than to others. In such a case,
the students* balance of musical skills could be upset.
A definite advantage to the integrated course is that the
student can develop a broad rather than segmented concept of the
elements of music. He need not study partwriting, apart from key
board and ear training, as a separate entity; rather he may study
all of them together, relating them to music as a whole. With this
broad concept, a student should connect the study of theory with
the other aspects of his music study.
One concrete disadvantage to this otherwise sensible
approach is that a student's extreme weakness in one area of
theory could cause failure or lower grades in the entire course.
However, a weakness in any one area generally leads to weakness
in other areas because all these seemingly separate elements
become fused in actual music.
The non-integrated approach devotes a separate course and
instructor to each aspect of music theory. The obvious advantage
to this method is that more time can be given to each student in
each subject. Instructors whose special interest or teaching
ability lies within a certain area of the theory program could be
assigned to teach courses in that area, thereby giving students
the advantage of the best instruction for each theory course.
Despite this advantage, the possibility exists that
students might come to view music in segments. The concept of
music as a whole might be lost in the attempt to teach each area
of music theory as a separate course.
Finally, the risk of weakness in one area causing a
failing grade in theory is lessened in a non-integrated course.
A student who has problems in one course need not fear failure
in other courses because of those problems except in the sense
that all musical skills are in some way related.
One can see the arguments for and against both types of
instruction. One generally finds that more music schools and
theory instructors currently favor the integrated approach.
Ear training, whether taught in an integrated or non-
integrated program, is an essential element of the total theory
program in that it develops some of a musician's most important
skills. In considering the skills involved in ear training, one
must first categorize, then connect the three basic skills: aural,
visual, and manual. Aural skills are those which relate to the ear
and may deal with actual physical sound or with the functions of the
"mind's ear," the ability of the brain to produce sound images in the
absence of actual sounds. Visual skills deal with the printed page,
musical notation, and the ability to interpret such notation at a
rapid rate. Manual skills involve the writing of musical notation
and keyboard ability, or any physical skill on any instrument.
Ear training incorporates several combinations of these
basic skills. For example, dictation demands an aural-to-manual
connection. The student must first hear, then write in musical
notation, the given exercise. Another form of the aural-to-manual
connection is playing the given example on an instrument rather
than writing it. Sight singing employs a visual-to-aural skill
combination. One must see the notation and transfer the sound of
it to the "mind's ear" before singing it. The act of sightreading
requires a visual-to-manual skill connection, or a visual-to-aural-
to-manual connection if the instruments used are not of fixed pitch
(keyboard).
Certain specific abilities involving the basic skills are
considered important to all musicians. Among these is the recog
nition of timbre or instrumentation. This is an area of musician
ship which is often passed over lightly or neglected at the college
level. The assumption that any student majoring in music can tell
8
the difference between a clarinet and a saxophone is quite false;
therefore, music teachers should spend some time training their
students to recognize the sounds of different instruments.
Another important ability is that of writing a melodic
line which is dictated. The concept which places such weight
upon this ability is that a student who has the aural-to-manual
skill to do the exercise will have or will develop the visual-to-
aural- to-manual skill necessary to play his instrument to a high
degree of proficiency.
Equal in importance to melodic perception is the ability
to recognize and write a dictated harmonic progression. Tlie real
importance here lies in recognizing the vertical structures and
their relationships to each other, not in recognizing four or more
melodies which are played simultaneously. Although melodic per
ception must naturally come before harmonic perception, the
students' attention should be focused upon the vertical rather
than the horizontal in harmonic dictation. One way of developing
this vertical awareness is to have each student sing the notes of
each chord in a progression in its tightest position, using solfege.
The student thus produces linearly the sounds he hears vertically
and can use his melodic perception to develop his harmonic per
ception (Chittum, 1969, pp. 65-66).
Along with the abilities to write dictated melodies and
harmonic progressions, the ability to recognize and write rhythms
is of great importance. Not only should a musician be able to write
dictated rhythms, he should also be able to incorporate rhythms and
pitches in the dictation process.
A combination of all these abilities and skills provides a
musician with a solid foundation upon which he can build his career.
However, the problems involved in leading a student toward these
musical goals are many and varied.
One of the primary problems of ear training is the amount of
time which must be spent in repetition and drill. In many schools
class time is used for much of this dictation drill in order to
ensure the correct aural exercise for students. Class drill aids
those students who lack the time or perhaps the motivation for
extensive work outside the classroom. Also, the instructor can
provide immediate feedback to his students if the drill is con
ducted in class. However, class time is valuable and in most
situations an instructor finds it difficult to devote sufficient
time to ear training drill in class to give the students the
exercise they need in order to develop their skills.
Another of the problems in dictation drill is the necessity
of someone to give the dictation to one or more people. Students
can work in pairs, taking turns giving exercises to one another,
but such an arrangement cuts each student's drill time in half.
Class dictation work outside the actual class period is a proven
aid to students, but out-of-class sessions often demand more time
of the instructor than he is able, or perhaps willing, to give.
10
A third problem relating to the teaching of ear training is
the variation in the students' learning abilities. The student who
progresses slowly may hold back the students capable of learning at
a faster rate. The slower student may realize this fact and feel
both discouraged and guilty because of it. These feelings could in
turn lead to failure. The student who can progress more rapidly
than the rest of his class faces the possibility of boredom if the
class does not keep pace. He also possesses the ability to make
slower learners feel inferior by his very presence among them.
Contributing greatly to the students' rates of learning are
their various musical backgrounds. A student who appears to be a
slow learner may merely lack the background, not the intelligence,
of his classmates. For instance, some students from larger high
schools may have had a theory course before entering college.
Naturally these students hold an advantage over those who have not
previously encountered formal theory training. Many students enter
college from public school programs only. They have had little or
no private music study. On the other hand, a few students come
from private studios and have not experienced public school music,
especially ensemble work. The majority of music majors have
received a combination of the two.
All these factors influence a student's performance in
dictation and other facets of theory, especially at the freshman
level. Eventually, as students progress as college music majors.
11
these background differences diminish in importance and the students
experience a leveling-out process by the time they become upper-
classmen. The differences in students' learning abilities, however,
do not level off and always present problems to the concerned
instructor.
Thus the problems, ideologies, and skills involved combine
to make the teaching of ear training, dictation in particular, a
most difficult task.
CHAPTER III
A SURVEY OF SELECTED EAR TRAINING TEXTS
A survey of selected ear training texts has been included
in this paper as an aid to instructors in forming their own methods
or in incorporating the methods proven by others. The texts surveyed
included both programmed and non-programmed material. Of the pro
grammed texts, some had accompanying recordings and some did not.
Some texts incorporated sight singing and keyboard as well as dicta
tion material.
Each text is listed in a clear-cut, easily read manner. The
following information, if available, is given for each text:
1. Bibliographic information
2. Author's affiliation
3. Type of text
4. Objectives stated by the author
5. Prerequisite skills or knowledge
6. Format (effective methods of use, testing procedures, contents, etc.)
7. Physical aspects
8. Comments
12
13
Author: Leo Horacek and Gerald Lefkoff
Author's affiliation: West Virginia University
Title: Programmed Ear Training (in four volumes)
Publisher: Harcourt, Brace, Jovanovich, Inc., New York
Date: 1970
Type; Programmed with tape recordings
Objectives: To enable students to develop on their own the skills
of melodic and harmonic dictation, sight singing, and aural harmonic
analysis generally required in the first two years of theory study.
Prerequisites: Knowledge of music notation
Format: Volume I - Intervals; Volume II - Melody and Rhythm; Volume
III - Chords, Part 1; Volume IV - Chords, Part 2; Instructor's Manual
and a set of tests. The series is very flexible, does not require a
set pattern of use, and can be used as a supplement to any text or
type of theory course. The series is designed for use outside of
class.
Physical aspects: Four paperback workbooks with several reels of
tapes for each book.
Comments: This text could be used successfully to supplement a
beginning theory course.
Author: Roger Chapman
Author's affiliation: University of California at Santa Barbara
Title: Hearing Music
Publisher: New Century, Meredith Corporation, New York
14
Date: 1970
Type; Prograiraned with tapes
Objectives: 1) To offer a source of detailed drill outside the
theory classroom; and 2) To provide the student with an orderly
sequence of exercises which allow him to respond continuously to
questions, proceeding at his own speed and level of achievement,
with immediate feedback.
Prerequisites; Knowledge of musical notation and intervals
Format; Four workbooks with accompanying tapes: Intervals, Rhythm,
Chords, and Melody. Books on Intervals and Rhythm are independent
of each other and may be worked on at the same time. They are,
however, meant to precede the books on Chords and Melody. Each
lesson in each book concentrates on a specific musical element.
The ACCESS marker, a crayon-like tool which is used both to write
answers in the workbook and to uncover answers, is provided with
the books.
Physical aspects: Paperback, ACCESS marker (uses chemical process
to "uncover" correct answers in the book).
Comments: This series should cover the first year of ear training.
The sequence is quite logical and feedback is immediate via the
ACCESS marker. The repetition and drill included in the books
make them excellent as supplementary material, but they could also
stand as foundation ear training study for the freshman student.
15
Author: Gary E. Wittlich and Lee Humphries
Author's affiliation; Indiana University, and the University of
Minnesota, respectively
Title; Ear Training, An Approach through Music Literature
Publisher: Harcourt, Brace, Jovanovich, Inc., New York
Date; 1974
Type; Partially programmed if desired by instructor (accompanying
records of complete works and tapes of exercises available)
Objectives; To develop the musical ear through the study of actual
musical compositions rather than excerpts or exercises, and to cover
those skills normally required in the freshman year of ear training.
Prerequisites: Knowledge of intervals, scales, key signatures,
triads and seventh chords, and basic notation
Format; Each of the 14 units takes a complete musical work or move
ment (taken from all periods of music literature) as a source of
various questions, drills, and dictation exercises. These exercises
in turn lead the student to a total understanding of all aspects of
each work. The arrangement of questions and drills is flexible so
that one work can be taken at a time, or similar aspects of several
works can be studied together. Glossary and index are included.
Physical aspects: Paperback, one volume, records and tapes
available if desired.
Comments; This text is quite thorough in its approach to each work
and includes most musical styles. Its flexibility allows the
instructor to structure ear training to complement other theory
16
studies and to incorporate all the elements of music into the ear
training study. This unique yet practical approach could prove
quite successful.
Author; Robert W. Sherman and Morris H. Knight
Author's affiliation: Ball State University
Title; Aural Comprehension in Music (in two volumes)
Publisher; McGraw-Hill Book Company, Hightstown, New Jersey
Date; 1972
Type; Programmed with recordings (discs)
Objectives: 1) To approach aural problems in the context of daily
musical experience; 2) to incorporate a variety of timbres and
styles into the aural exercises; 3) to include instrumentation and
score reading in ear training; and 4) to treat intervals, melody,
tonal memory, rhythmic content, instrumentation, and score reading
in various ways from the simple to the complex
Prerequisites; 1) Knowledge of musical notation, and 2) knowledge
of rhythmic values, intervals, and clefs
Format; The first seven units deal with instrumentation and inter
vals (alternating). Unit 8 introduces rhythmic content, and these
three areas are emphasized until Unit 23, when three- and four-note
melody appears. Pitch memory occurs in Unit 29, just before the
end of Volume I. Volume II expands these categories to include
longer melodies and score reading. A pre-test and a post-test are
17
to measure progress. Frequent testing within the student workbook is
also included.
Physical aspects: Paperback in two volumes with separate teacher's
manual, detachable pages.
Comments; Answers to each unit are in the teacher's manual, so a
student has no immediate feedback. No actual written-on-staff dic
tation exercises are used, but the variety of ways that musical
materials are treated should benefit the student greatly.
Author: Winifred Knox Chastek
Author's affiliation: California State University at Los Angeles
Title; Master Themes for Sight Singing and Dictation
Publisher; Wadsworth Publishing Company, Inc., Belmont, California
Date: 1973
Type: Non-programmed
Objectives: To develop basic technique in sight singing, analysis,
and music dictation through the use of the "master themes" of music.
Prerequisites: Knowledge of scales, keys, intervals, and basic
notation, including C clefs.
Format: Themes from Baroque to 20th century composers are arranged
in chapters by category (diatonic, modulatory, chromatic, chromatic
modulatory) and within each category themes are arranged so as to
drill specific intervals from seconds through ninths and over.
The themes are thoroughly cross-indexed by many different categories.
18
however, so that the teacher can pick drills to suit a specific
purpose, i_.e ., fugue subjects. Scales and intervals' charts are
included at the back of the book.
Physical aspects: Paperback, spiral
Comments; The book has great advantages in that it uses "real"
music for sight singing and dictation exercises. The arrangement
is good and the indexing is excellent. For sight singing, none of
the melodies has been transposed and some may be in a difficult
range for comfortable singing. The melodies are, for the most
part, meant to be used interchangeably for sight singing and
for dictation.
Author: Bruce Benward
Author's affiliation: University of Wisconsin
Title; Teacher's Dictation Manual in Ear Training
Publisher; Wm. C. Brown Company, Dubuque, Iowa
Date: 1961
Type; Programmed with tape recordings
Objectives; 1) To develop a "seeing ear" and a "hearing eye"; and
2) to teach the student to group sounds into meaningful patterns
Prerequisites; 1) Knowledge of musical notation; 2) ability to
relate sounding intervals to written notation; and 3) the author
assumes that sight singing, harmony, and keyboard skills are
being taught concurrently with dictation
19
Format: Contains answers and exercises contained in the student
book. Workbook in Ear Training. Thus the teacher can elect to
dictate the examples himself or use the tapes, or a combination
of both methods.
Physical aspects: Paperback, spiral, detachable pages
Comments: The author advocates the memorization of a given example
before writing it on the staff. This is one of the pioneer texts
in programmed ear training using tapes, and it remains one of the
best.
Author; Bruce Benward
Author's affiliation; University of Wisconsin
Title: Workbook in Ear Training
Publisher; Wm. C. Brown Company, Dubuque, Iowa
Date; 1961
Type: Programmed with tapes
Objectives; 1) To develop a "seeing ear" and a "hearing eye"; and
2) to teach the student to group sounds into meaningful patterns
Prerequisites; 1) Knowledge of musical notation; 2) ability to
relate sounding intervals to written notation; and 3) the author
assumes that sight singing, harmony, and keyboard skills are
being taught concurrently with dictation
Format; Three types of units: harmony, melody, and rhythm. The
text is designed to be used as the primary medium for dictation
within the theory class or as a programmed text outside of class.
20
It is also designed to cover first-year ear training as per National
Association of Schools of Music recommendations.
Physical aspects: Paperback
Comments; The author advocates the memorization of a given example
before writing it on the staff. This is one of the pioneer texts
in programmed ear training using tapes, and it remains one of the
best.
Author: Allen Irvine McHose
Author's affiliation; Eastman School of Music
Title; Teachers Dictation Manual
Publisher; F. S. Crofts and Company, New York
Date; 1948
Type; Non-programmed
Objectives: To provide dictation exercises for the teacher to use
during the first two years of college level theory
Prerequisites; Knowledge of scales, keys, intervals, meters, clefs
and basic notation
Format: Four parts; I - Rhythmic; II - Melodic; III - Harmonic;
and IV - Harmonic Counterpoint. Within each part exercises progress
from simple to complex.
Physical aspects: Hardcover
Comments; The author recommends that the student not write the dic
tated exercise on the staff until he can sing it back to the teacher.
The exercises are graded and have been proven successful in class
room use.
21
Author; Carl Paige Wood
Author's affiliation: University of Washington (Seattle)
Title; Ear Tests in Harmony
Publisher; American Book Company
Date; 1936
Type; Non-programmed
Objectives: 1) To teach pitch relations; and 2) to teach
harmonies (chords) as integral structures rather than as
groups of separate notes
Prerequisites: Knowledge of intervals, scales, and basic harmony.
Format; Part I - single structures (intervals, triads, four-part
chords); Part II - progressions of different types and varying
difficulties. A special set of symbols is used rather than musical
notation in order to minimize the differences in students with
"perfect pitch" and those without who may have trouble translating
sounds quickly into notation.
Physical aspects: Hardcover
Comments: Although old, this text is built around the vital concept
that harmonic dictation should be the act of hearing chords as enti
ties and not of hearing separate melodic lines in a harmonic context.
The author uses a set of symbols for chords rather than actual nota
tion so that the chord rather than its individual components will
be the object of the student's listening. This goal can probably be
achieved just as well by using regular notation, however.
22
Author; Mary Jeanne van Appledom
Author's affiliation: Texas Tech University
Title; Keyboard, Singing and Dictation Manual
Publisher; Wm. C. Brown Company, Dubuque, Iowa
Date; 1968
Type; Non-programmed
Objectives; To correlate into one manual a large body of musical
materials especially designed for keyboard, sight singing, and
dictation to be used as a supplement to the beginning student's
theory text.
Prerequisites: Some knowledge of scales, keys, intervals, and
notation in relation to the keyboard.
Format; Three sections: I - Keyboard, II - Singing and Rhythm,
III - Partner Dictation. The idea of students giving dictation
to one another (thus developing keyboard skills while giving the
dictation) is of primary importance.
Physical aspects; Paperback, spiral, detachable pages
Comments; The text does a good job of combining materials which
are often found in three different texts into the single volume.
It offers sound, supplementary material for the freshman student
of music theory and takes some of the dictation load off of the
instructor by suggesting that students give dictation exercises
to one another.
23
Author; Leo Kraft
Author's affiliation: Queens College of the City University of
New York
Title; A New Approach to Ear Training, A Programmed Course in
Melodic Dictation
Publisher; W. W. Norton and Company, Inc., New York
Date: 1967
Type; Programmed with tapes
Objectives; To teach the student to hear and write tonal melodies
Prerequisites; Knowledge of sol-fa syllables in relation to
tonality
Format; The text contains four units, each containing seven lessons,
seven supplementary lessons, a practice lesson, review and test.
Students proceed from one lesson to the next according to their scores
on previous lessons. Review and test material are not included on the
tape but are given in class by the instructor. The tapes give two
playings for beginning exercises, three for later, more difficult
ones. Scoring regulates students' progress and is based on a required
90 per cent correct score before progressing to the next lesson.
Physical aspects; Paperback, perforated pages; answers in back of
each page fold over from both the top and bottom for easy checking.
Comments; The course covers melodic dictation at the college freshman
level. Solfege is used, although "do" is used as the tonic note in
minor keys rather than "la." All melodies are tonal, either major or
minor, and the tonic note is always given before each example.
24
Much tape seems wasted on periods of silence during which the student
writes his answers.
Author: Maurice Lieberman
Author's affiliation; Brooklyn College
Title; Ear Training and Sight Singing
Publisher; W. W. Norton and Company, Inc., New York
Date; 1959
Type: Non-programmed
Objectives: 1) Attainment of a sure sense of relative pitch in tonal
music; and 2) ease in handling non-tonal music through interval drills.
Prerequisites: Theoretically, there are no prerequisites, but know
ledge of basic notation would be advised.
Format: Fourteen chapters introduce, explain, and provide exercises
in gradually more difficult aspects of melodies and rhythms. The text
is comprehensive in these areas but contains little harmony study and
is designed as a freshman level text. It includes both dictation and
sight singing studies.
Physical aspects: Paperback, spiral bound
Comments; The text is comprehensive in those elements which it covers;
however, the lack of harmonic material presents a problem even at a
beginning level. The text is perhaps a little too comprehensive in
attempting to explain many aspects of music through melody. More exer
cises and fewer explanations would improve its effectiveness if it is
indeed meant to be strictly an ear training text.
25
Author: John La Porta
Author's affiliation; Berklee School of Music
Title; Ear Training Phase I_
Publisher: Berklee Press Publications
Date: 1970
Type: Programmed
Objectives; Aural development of the student through rhythmic
and melodic recognition and development
Prerequisites: Knowledge of some basic notation and ability
to relate it to an instrument
Format: Twelve lessons, each containing sections on rhythm,
rhythmic dictation, melody (pitch identification), melody
(tonal exercises), and melodic dictation, make up the body of
the text*
Physical aspects: Paperback, manuscript
Comments; This is a very basic text, actually below the level
of many entering college freshmen. It could be used in a
beginning course or as a remedial tool. It does employ the
concept of students dictating to one another. However,
students can progress at a more rapid rate than that suggested
by this text.
26
Author: James C. Carlsen
Author's affiliation
Title; Melodic Perception, A. Program of Self-Instruction
Publisher: McGraw-Hill Book Company, New York
Date: 1965
Type: Programmed with tapes
Objectives: 1) To write in accurate musical notation melodies
which are played on different melodic instruments; 2) to recog
nize when and in what way the printed music differs from that
which is heard; and 3) to identify a performing instrument when
it is playing a solo melody or rhythmic line. Guidelines for
sight singing practice are given so one assumes that improvement
of sight singing is also considered a prime objective.
Prerequisites; 1) Know the major key signatures through five
sharps and five flats; 2) be able to read both treble and
bass clefs; and 3) know rhythmic note values and write musical
symbols legibly and accurately
Format; The text follows a pattern of linear programming in
which the student progresses from one frame to another at his
own rate. The answer to each frame is located to the right
of the frame and is kept covered by the student until he is
ready to check his response. A tonic triad at the beginning
of each frame (on the tapes) identifies the tonal center of
the melody to follow. An index of frames at the back of the
27
book indicates the frame in which a certain concept is
introduced.
Physical aspects: Paperback
Comments: Carlsen's programmed text emphasizes several
specific dictation skills, all of which are concerned with
melody. The text could be used at the freshman level with
success if combined with other harmonic and rhythmic materials.
The incorporation of timbre identification into the text is a
step too often not taken by text writers and theory teachers
alike and is a refreshing element in this text.
CHAPTER IV
USES OF THE CANON REPEAT-CORDER
In recent years cassette tape recorders have gained great
popularity, especially with educators. There are several reasons
for such success. First, the cassette machine is simple to operate.
Since the tape is contained within a plastic cartridge, there is no
complicated tape threading, nor is there the danger of tape running
off the reel during the rewind process. Most machines have simple
push-button controls which even a child might operate. Second,
the threat of tape damage is far less with cassettes than with
reel-to-reel tapes. Cassette tapes rarely twist or break while
rewinding, and they remain clean longer because the operator's
hands need never actually touch the tape itself. A third advan
tage of the cassette is the possibility of making non-erasable
tapes by simply breaking a small piece of plastic off the
cartridge.
One can readily see these advantages of cassette players
over other models in educational situations. Many musicians,
however, question the quality of the sound produced by these
machines. Many of the cassette recorders on the market today
cannot compete with even the lowest quality reel-to-reel machines.
However, sophisticated cassette equipment has been developed
28
29
which will challenge the quality of some of the best reel-to-reel
recorders. The Canon Repeat-corder L falls between these extremes.
Although not specifically designed to record music, this machine
exhibits a level of sound quality far above the average portable
cassette recorder. This feature plus its unique repeat system
and certain other options make it an ideal tool for music dicta
tion instruction.
First, consider the operation of the Canon Repeat-corder L.
A portion of this machine operates much like any cassette recorder.
There are push button controls for "record, rewind, fast forward,
play, and stop." At this point, however, the similarity ends.
Besides the regular master tape cartridge (cassette), there is a
repeat cassette which contains a two-track tape coiled in a repeat
ing loop. (Canon Pub. No. 5386B). These repeat cassettes are
available in lengths varying from five seconds up to five minutes.
The repeat cassette continually records from the master tape so
that a specific portion of material (depending upon the length of
the repeating loop used) from the master tape is readily available
on the repeat cassette. For example, with a ten-second repeat
cassette in the machine, one could press the "play" button in
order to play the master tape and simultaneously record that
material on the repeat cassette. One could then, by pressing
the "repeat" button, automatically stop the master tape and play
back the ten second portion of the material which has been heard
on the master tape prior to pressing the button. That ten second
30
loop would repeat until the operator pressed the "play" button
again to resume playing the master tape at the exact point it
was stopped.
Several interesting options can be utilized while playing
the repeat loop. The microphone has a switch with two positions
labeled "talk and erase" and "listen." Of course, the microphone
must be in the "talk and erase" position for recording on the
master tape. While operating the repeat cassette alone, the
microphone switch allows the operator simply to listen to the
repeated master tape material with the microphone on "listen."
When the switch is on "talk and erase" he may record his voice
on the repeat cassette. By moving the switch back to the
"listen" position he can listen both to his own voice and to
the master tape material.
This process can be repeated for as long as the operator
desires. The master tape material is recorded on one track of
the repeating loop, and any material the operator may record on
the loop is on the second track. Therefore, the second track
can be erased and re-recorded many times without disturbance of
the material on the first track. The master tape, of course,
need never be disturbed until the operator is ready to proceed
with its playing.
Three options are currently available with the Repeat-
corder L. A Mini Lab, consisting of five headsets with
microphones connected to a single junction box (essentially a
31
Repeat-corder L unit), allows five people to talk to each other and
to record their voices on the repeat cassette. This option was
designed and is probably best suited for speech and auditory train
ing rather than music ear training. Students could, however, work
in small groups with the Mini Lab and learn from listening to one
another as well as to themselves.
A second option is the Repeat-corder L and Skill-Master V.
The Skill-Master unit slips into the place of the master cassette
to convert the machine to a magnetic card player. The material on
a magnetic card, which is basically a strip of magnetic tape
attached to a card, is automatically recorded on the repeat
cassette. By using magnetic cards, one can arrange short pieces
of material in various ways, avoiding the fixed format of a regu
lar master cassette. A magnetic card can contain approximately
five seconds of material; therefore, short melodies, chords, or
harmonic progressions of varying difficulties could be placed on
the cards and could be arranged in any order to suit the needs of
the student. By playing the card once, the student could have the
material readily available to him on the repeat cassette. This
might be a good method of teaching students to recognize different
types of seventh chords and their inversions (see Example 5). The
Skill-Master V option has definite possibilities as an ear train
ing tool. (The Skill-Master V is a product of the MCM Corporation,
not Canon.)
32
The final option is called the Slide-Corder. It employs
the Repeat-corder L and a slide synchronizer. These in turn can
be connected to any Kodak Carousel projector. The advance signal
for the slides is not recorded on the repeating loop, so that when
the "repeat" button is pressed, the slide remains on the screen
while the audio repeats. This option might be employed in the
classroom with slides of exercises or of pages from scores and
audio material corresponding to each slide.
Of the three options discussed, one stands forth as a
strong ear training tool. Even that one, the Skill-Master V, is
limited by the extreme short length of the magnetic cards. How
ever, one can expect further development from Canon, some of which
might possibly be ideal ear training tools like the Repeat-corder
L itself.
The Repeat-corder's uses and advantages in a music theory
program are many. It can be used integrally or supplementally to
aid students in learning to take dictation.
As a supplemental study tool, the machine can function well
in a laboratory situation wherein students are supervised. Students
could be required to spend a certain amount of time outside of class
in a lab equipped with Canon Repeat-corders and programmed tapes.
Registration of their attendance with a monitor insures the students
participation and is commonly used by teachers of foreign languages
in similar laboratory facilities.
33
A second method of use is an individual study or an unsuper
vised situation. Tapes and machines could be made available to
students with no set restrictions or requirements as to their use.
In such an atmosphere, students could take the initiative in
obtaining supplementary dictation aid.
The instructor could find the Repeat-corder L helpful to a
slow student who is struggling to keep pace with the rest of his
class. The extra drill afforded such a student with the aid of the
Repeat-corder could improve both his performance and his attitude.
In addition to supplementary use, the instructor may wish to
employ the Repeat-corder as a substitute for drill normally conducted
during class time. Students could use the machine for drill in either
a supervised or non-supervised situation; tests could be administered
in class. Thus, class time would be utilized for other facets of the
theory program and each student could work on dictation at his own
rate of speed.
The unsupervised laboratory described earlier could also be
used as an integral study tool. A specified amount of class time
could be set aside for lab drill, or students could be assigned lab
drills as a regular part of their ear training "homework."
Each of these suggested uses should be molded by the indi
vidual instructor to fit his particular situation. There is little
doubt, however, that the use of a machine, especially the Repeat-
corder L, affords certain advantages over the person-to-person
34
method of dictation drill. First is the elimination of human error
in dictating the exercises. No one can play any given exercise
exactly the same way every time. A recorder will repeat the original
version of each exercise exactly as it was first stated.
A second advantage of machine over man is the unlimited port
ability of the machine. A student cannot have a theory instructor
or a fellow classmate available to him at all times for theory drill;
however, he can carry a machine anywhere, even outdoors if it is
battery operated. The convenience of such an arrangement is almost
incalculable.
Finally, the use of a machine for dictation drill eliminates
many extra hours of work by the instructor, hours which could be
utilized in preparation for teaching other areas of music. All
these advantages, of course, apply to the Repeat-corder as well as
to other machines. There are, however, further advantages to the
Repeat-corder. The most obvious of these is the virtual elimination
of the rewinding process while the opportunities for repetition of
any portion of the cassette remain almost limitless. The user also
has the advantage of being able to compare quite easily his written
answer with the taped dictation example if he has access to a key
board or other fixed pitch instrument. For instance, a student may
listen several times to a single dictation exercise and write his
answer on the staff. He can then play what he has written simul
taneously with the taped example, thus becoming instantly aware of
any differences between the given example and his own answer.
35
The advantages of recorders in general combined with the
advantages of cassettes and specifically the Canon Repeat-
corder L will naturally lead a music educator toward the explor
ation of workable, practical applications of the machine as an
integral or non-integral study tool. The general possibilities
mentioned above serve only as a base from which the theory
instructor can develop the methods of use which best suit his
situation.
CHAPTER V
EXAMPLES OF EXERCISES
Specific examples of methods of using the Canon Repeat-
corder will perhaps be useful to theory instructors either in the
form given or in the instructor's own modified version. The par
ticular examples which follow are not taken directly from any
existing text; however, the types of examples given are those
which have been proven effective in various programmed texts.
They have been adapted for use with the Repeat-corder.
None of the examples is meant to be used strictly as it
appears here. Rather each should be employed as a guideline for
the theory instructor in developing his own exercises. Each sample
exercise has clear instructions to the student along with comments
to the instructor regarding length of repeat cassette and method
of feedback. These examples are placed in no particular order
except that those which deal with a particular subject, i.£.,
intervals, are placed together. The exercises are also indexed
according to the length of repeat cassette required for each.
In assembling a group of exercises into a unit for programmed
study, the instructor should keep in mind the length of repeat
cassette required and if possible arrange the exercises so that
the student need not change repeat cassettes too often, if at
all, within a unit.
36
37
The sample exercises which follow encompass various levels
of difficulty ranging from simple intervals, chords and rhythms, to
examples of complex chromatic harmony. However, the methods of use
of the machine and the types of examples are more important than the
level of difficulty of a particular exercise. Most of the exercises
should be adaptable to any level of difficulty by the individual
instructor.
38
EXERCISE #1
Instructions; You will hear several intervals, each played melodically on two different instruments. Identify each interval and the instruments playing it in the spaces provided. The lower note is given for each interval. After each interval in this group (A, B, C, and D) push the "repeat" button for a second hearing or to check your answers. Answers are given at the bottom of the page and should be kept covered until you are ready to check your work.
B
m -t?- - 2 1
Interval
Instruments U. L.
Interval
Instruments U,
i ss 1^7-
Interval
Instruments U. L.
Interval
Instruments U,
Comments; This exercise would require a 6- to 10-second repeat cartridge. The answer provided below should be covered by the student until he is ready to check his responses. A page (or pages) of similar exercises in varying degrees of difficulty could be provided so that the student could progress from one exercise to another without rewinding the master tape and without changing repeat cartridge lengths.
Answer;
A.
^ ¥^ P llth
is m 3rd
^m U = saxophone L = trombone
-O-
U = oboe L = flute
B.
ZZ
m 6th
D.
Z^JD:
m Tth
U = piano L = bassoon
321
U = trunpet L = violin
39
EXERCISE #2
Instructions: You will hear a series of intervals played harmonically. The lower note of each interval is given below. Name each interval in the spaces provided and write in the upper note for each on the staff. At the end of this series (A-E) push the "repeat" button for a second hearing or to check your answers. Answers are provided upside down at the bottom of the page so that you may check your responses as you progress.
^ -O- TTT -e- JZIZ
Comments: This exercise would require a 30-second repeat cartridge. Since the answers are given upside down, the student need not cover the bottom of the page while working the exercise. A page (or pages) could contain several sets of exercises of the same type and length so that the student could progress from one to the next without rewinding the master tape or changing repeat cartridge lengths.
Answer:
i =22:2
1 m 'P 9 Jr TTZT
^ d -^ Z m -"Q
^ ^
EXERCISE //3
I n s t r u c t i o n s : You w i l l hear s eve ra l i n t e r v a l s played melodical ly
uVtTr n i l ° ' ''f ' \ ^ " ' ' ' - " ^ " ^ "^^ second 'note b L l d : h ; " r epea t " b u « o n f o r ' . ^'/t^ " ' " ' °' ^""^^ ^ " " P (A-^) P"^h the v l t t ^ M , """^ hea r ing . Be sure to name each i n t e r -
I t the b o t t o r o f ^ ^ ' " ' ' ' ' ' ° " ^"=^- ' = ° " " ' - ^ ^ ^ « - - P P l i e d " che^k^o'ur r L p o ^ s ^ : ' ^ ^ " ' ^ ' ° " ' ' ' ^ ^"^"^"^ " " ' " ^ ^ " ^ ' - - ^ ^
40
fe ^3 -^e- ZZ # ^
A. B. C. D. E.
Comments: This exercise would require a 45-second repeat cartridge. A page (or pages) could contain several sets of exercises of the same type and equal length so that the student could progress from one to the next without rewinding the master tape and without changing repeat cassettes. By using fewer exercises in each set (perhaps three rather than five) the instructor could use a shorter repeat cartridge.
Answer;
ZZ P^ zz zz ^ Z2: •e- ¥=e-
p k B. M 3 C. m 6 D. M 3 E. M 7
41
EXERCISE #4
Instructions; You will hear a short melody. The key signature and tonic note are given. Listen to the melody several times by using the "repeat" button. Then write the melody with correct pitches and rhythms. Be sure to provide the meter signature and name the key. You will find the correct answer at the top of the following page.
i f€ 'I
DO
M m-KEY;
Comments: This exercise requires a 15-second repeat cassette. Several melodies of this sort could be used on a page with the correct answers provided on the following page. Similar exercises with more difficult melodies might be used as the student advances. If longer melodies are used, the length of the repeat cartridge should change accordingly. Note that solfege syllables are provided in the answer. The instructor could require that the syllables be written under the melody by the student (preferably before he writes any actual notation).
Answer: (Answer would be located at the top of the following page as indicated above.)
42
EXERCISE //5
Instructions: Cover the left side of the page until you are ready to check your responses. You will hear several short melodic passages played on different instruments. Write solfege syllables alone for each and identify the instrument. Push the "repeat" button after each exercise for additional hearings.
S (D T^uAiper •f^ t^fl Do SCL TI tk ScL. ^ " ^
/Ml iCL DO
6AS^OOr4 ^ BASSOON
m m Z ' Ri? b e Sci- '»' 'V 5^1. LA Ti oo «£" £>o
M S -Tx- ?:& ^ff i -f-' ~ ! — 7 ^
L A -ii r l fyt bO LP( TI OO DO TI uA
^
T :7
i n n r>
Ml De L A T i DO Re /HI (Jc « |
(g)T<?0Al60f«J
Dc «£" AM r< Oc lA P/» Soc T i 0 0
1)
Solfege: _
Instrument
2) Solfege: _
Instrument
3) Solfege; _
Instrument
4) Solfege: _
Instrument_
5) Solfege: _
Instrument
Comments; This exercise will require a 15-second repeat cartridge. Several pages of exercises of similar type, equal length, and varying difficulty could be done in this format. In actual practice, the instructions would be placed on the right side of the page so that the left side containing the answers could be completely covered.
Answer; See above, left of page,
43
EXERCISE //6
Instructions: You will hear five series of notes. Without regard for rhythm, listen to each series and write the notes on the staff. Place correct solfege syllables in the spaces provided below each series, and indicate the key for each. The first note in each series is given along with the key signature. Press the "repeat" button after each series for additional hearings. The correct answers to this exercise are given on the following page.
^ i^
i M
i !2l^ 2: :z syu. KEY.
k£ 72:
l^ SiL
a tfc SiL. Key __
ZZ i
Comments: This exercise requires a 15-second repeat cassette. See the following page for correct answers. A page or several pages of exercises of the same type, equal length and varying difficulty might be used so that the student could progress from one to the next without changing repeat cartridges. Repeat cartridge lengths should be adjusted if longer or shorter series are used.
EXERCISE #6 (continued)
Answer; See the previous page for instructions and comments.
44
k& -j u
S 7T
-&-•€P-
S ^ ^ -c?"
^
^
F Major do ti mi re sol la fa re mi ti do
:^:
£5 - ^ .' ' ! cr- _ :2L t9 1- I ^ ±=± I I
• € ^
• 3 ^ -f • ^ ^
G minor la mi do ti si la fa re do la
7 7 — ^ f-# n: • ^ : ^
-# e iz: E minor la si la do re ti si mi la
& i ^ u: 2\~w n: ^
M i ,^^ -tr zr : ^
A Major sol mi fa la sol do ti sol re do
TT £ jfL s 21 <9- zz. ? tE E^ Major mi re ti do sol la fa re ti do
45
EXERCISE in
Instructions: You will hear several short melodies. The key signature and tonic note are provided for each. Listen to the first melody; then push the "repeat" button and listen again. The third time push the "talk and erase" switch and sing the melody using solfege syllables. Switch the microphone to "listen" and compare your singing to the played example. Repeat these steps if necessary; finally, write the melody on the staff in whole notes with the correct solfege syllable under each note. Follow the same pattern for each melody. Answers are printed upside down at the bottom of the page.
fc 5 i5 ^ i-
Comments; This type exercise would require a 10-second repeat cartridge. Longer cartridges could be used for longer melodies.
Answer;
oa '-L 3y oct vd VT ~^^^ ""^
ZZ ZZ zz - ^ -
^ 3. m
C7a \vi ^09 V7 OQ )X o g -^os od
m
<^ o zz -e-
zz -&- JZ
1^ m ^
m *W)
46
EXERCISE #8
Instructions: You will hear four short melodic examples. The first note (not necessarily tonic) is given below for each. Provide the correct key and key signature and write the melody m the staff after supplying the correct solfege syllables in the spaces below each staff. Listen to each example employing the "repeat" mechanism until you can sing the exercise on solfege syllables before you begin to write.
N«y son
3'
I o- ^ Y i^y
i S<1F.,
^
t Krv
Comment: This exercise would require a 10-second repeat cartridge. Answers are provided below and should be covered by the student until he is ready to check his responses.
Answers;
47
EXERCISE #8 ( c o n t i n u e d )
^ .
3 I m o 2.
? ^ = ^ = ^
sot Do Mt p^ Rff r i po
^ > ^ I ri ^ ipo S«(- A ( T( 1>«
I <p U [• I {_^ ' ^1 M \ »o $»«. 'HI "»« Set (K oo
48
EXERCISE #9
Instructions: You will hear four series of chords (triads). Indicate the type or "color" of each by using the following symbols: M - major; m = minor; A = augmented; D = diminished. After each group of chords, push the "repeat" button for a second hearing. Try to respond to each chord after a maximum of three hearings. Push the "play" button to go on to the next series.
!• A. 2. A. 3. A. 4. A.
B. B. B. B
C. C. C. C,
D. D. D. D,
E. E. E. E,
Comments: This exercise would require a 20-second repeat cartridge, at a rate of 20 seconds per group of five chords. A repeat cassette of shorter length could be used if the instructor prefers to repeat each chord rather than the whole group. In such a case, 5 seconds should be quite adequate. Sizable amounts of exercises of this nature could be provided for freshmen students as an introduction to harmonic dictation. The same type exercise could, of course, include different types of seventh chords for the more advanced student.
Answers: The answers to this exercise could be provided either below (to be covered by the students until ready to check) or on a separate page (perhaps as part of an appendix containing answers to exercises).
49
EXERCISE #10
h r ^ r r ""^^^ " ^ ^ ^°"" harmonic progressions. The tonic ^Von nn^i^ ^ ^7'' 5^^°^ '° ^^^ progression. Write each progres-l^.T.Z " "^^^f,^^d Provide Roman numeral analysis for each Siord. Use the repeat button for as many hearings as necessary, ^his exercise will be checked by your instructor and returned to you.
Z7
ZZ
50
EXERCISE 10 (continued)
Comments: This exe rc i s e w i l l r e q u i r e a 20-second repeat c a s s e t t e . The answer would be contained in a t e a c h e r ' s manual and the i n s t r u c t o r would be able to check h i s s t u d e n t s ' p rog res s . This i n s t ruc to r - checked type of exe rc i se could be incorporated in to an otherwise programmed (student-checked) workbook, much as the i n s t r u c t o r - c h e c k e d examinations a re included in many programmed t e x t s . Pages would be pe r fo ra ted so t ha t s tudents could detach them and tu rn them in to the i n s t r u c t o r .
51
EXERCISE //ll
?? ; ^ Q - Cover the. bottom half of the page. You will hear a chord played hgrmonically, then broken. Identify the type of chord (M, m, Mm7, MM^, d, A, dd7, 1/2 d, or dm7, etc.) and its inversion. Press the repeat button after each chord for additional hearings. If you require more than an average of three hearings per chord, go to Group AA. If you needed three or fewer hearings, go to Group B. If two hearings are insufficient for you on the B chords, do the BB Group before going to the next exercise.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Comments
A
• • This
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
exe
AA
rcise
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
would
B
require
BB
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
a 6-secon( Answers are provided below and should be kept covered until the student is ready to check his responses. A page (or pages) could contain several sets of exercises of the same type for repeated drill at varying levels of difficulty. These exercises could be put on magnetic cards and used with the Skill Master V. If this method were used, the answer to each exercise would appear on each card.
EXERCISE #11 ( c o n t i n u e d )
Answers
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
1 •
A
M
A
d
M^
6 m
Mm7
m
dd7 w6 "4
MM7
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
AA
m
M
>fai7
6 m
d 6
MM7
M^
dd7
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
B
6 Mm"
mm7
dm7
MM7
Am7 6
MM"
6 mmc
dd7
mM7
Mm7
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
BB
mm7 6
Mm
dm7
dd7
MM7
mM7
AM7
Mm7 6
mm.
dm7
53
EXERCISE #12
I n s t r u c t i o n s ; You w i l l h e a r a harmonic p r o g r e s s i o n i n 4 - p a r t c h o r a l e s t y l e . L i s t e n t o t h e p r o g r e s s i o n , u s i n g t h e " r e p e a t " b u t t o n for a d d i t i o n a l h e a r i n g s , then w r i t e t h e p r o g r e s s i o n on t h e s t a f f . Be s u r e to i n c l u d e i m p o r t a n t non-harmonic tones and a Roman numeral a n a l y s i s . Check your r e s p o n s e a g a i n s t t h e answer which appears ups ide down a t t h e bo t tom of t h e p a g e .
^^Jk-i T«NlC
J2L J2L
W^=3 t ^
Comnents; This exercise requires a 15-second repeat cassette. A page (or pages) of similar exercises of equal length and equal or varying difficulty could be provided so that the student might progress from one to the next without changing repeat cassettes or rewinding the master tape. For harmonic dictation examples of greater length a longer repeat cassette should be used.
Answer:
15 I j I
r
yii
"ll
M
^
^
^m
ii »4 Ffe ^'
rr ^ 1^
54
EXERCISE #13
Instructions; You will hear a passage of orchestral music. The key and meter signatures and tonic note are given. Write the melody which is played by the double reed instrument.
Comments: This exercise will require a 30-second repeat cassette. The answer along with the source of the symphonic excerpt is located below in an upside down position so that the student can check his response immediately. The ability to identify a melody of a particular timbre is developed through this type of exercise as well as the ability to take a melody out of its harmonic context.
Answer ;
n ' i M I M I I ^
^^^=f^
5U3IC3A0W p a j 'aouTtn a UT g -ON KuoqdmXs
VlBJOAd UOJUV
55
EXERCISE #14
Instructions; Identify each of the following cadences. Give the Roman numerals as well as the common name (authentic, half, plagal, £t£.) for each. Press the "repeat" button at the end of each cadence to hear it again. The tonic chord will begin each example. (Use "V7" to identify all inversions of the dominant seventh.)
. R.N.
Name
2. R.N.
Name
3. R.N.
Name
4. R.N.
Name
Comments; This exercise will require a 6-second repeat cassette. The answers show the chords in notation as well as giving the name and Roman numerals for each cadence. Answers at the bottom of the page should be covered by the student until he is ready to check his response. A page (or pages) could contain several sets of examples of the same type and varying in difficulty, for example, the student could be required to provide correct figured bass, altered chords could be used, etc.
Answer:
(i> ® (3)
^ --tr^^ TZ.
&-^ 2 -^l-^'iif
I V7 I
Authentic
I IV V
Half
I IV I
Plagal
I VT vi
Deceptive
56
EXERCISE #15
Instructions: For the rhythmic patterns below, provide the meter signature and correct bar lines. First, listen to the example; then push the repeat" button for a second hearing. Conduct or use some type of physical motion on strong beats as you check your answer. (You may assume quadruple meter rather than duple unless otherwise indicated.)
m 1 /• •
rn I p n I I M r 11 I n I Comments; This exercise requires a 20-second repeat cassette. Answers are provided at the bottom of the page and are intended to be covered by the student until he has finished the exercise, A single pitch on the piano is suggested for use in rhythmic dictation.
Answer:
g H 1-fH 11 r nn l B I ^ -^-^ ^' ^ ^ ^ ^ ^ ^-^—> ^ ^ ^ y y >
\l I I J j I l i n i l j J i l TTTtt i J 1|] \ *^ <g
- f t — ^ ^ y y y > ' y ^ y \ ^ • y > ^
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Index of Exercises
Exercises requiring a a 6 or 6-10 second repeat
cassette Ex. 1, 11, 14
Exercises requiring a 10-second repeat cassette Ex. 7, 8
Exercises requiring a 15-second repeat cassette. . . . Ex. 4, 5, 6, 12
Exercises requiring a 20-second repeat cassette Ex. 9, 10, 15
Exercises requiring a 30-second repeat cassette Ex. 2, 13
Exercises requiring a 45-second repeat cassette Ex. 3
Exercises involving intervals Ex. 1, 2, 3
Exercises involving melody Ex. 4, 5, 6, 7, 8, 13
Exercises involving harmony Ex. 9, 10, 11, 12, 14
Exercises involving rhythm alone Ex. 15
Exercises involving instrumentation Ex. 1, 5
BIBLIOGRAPHY
Benward, Bruce. Teacher's Dictation Manual in Ear Training. Dubuque, Iowa: Wm. C. Brown Company, Publishers, 1961
Workbook in Ear Training. Dubuque, Iowa; Wm. C. Brown Company" Publishers, 1961.
Canon. Pub. No. 5386B. Japan: Canon [n.d.J.
Carlsen, James C. "Programmed Learning in Music Dictation." Journal of Research in Music Education, Vol. 12, No. 2 (1964), 139^^48:
Chapman, Roger. Hearing Music. 4 Vols. New York: New Century, Educational Division/Meredith Corporation, 1970.
Chastek, Winifred Knox. Master Themes for Sight Singing and Dictation. Belmont, Calif.: Wadsworth Publishing Company, 1973.
Chittum, D. "A Different Approach to Harmonic Dictation." Music Educators Journal, Vol. 55 (March, 1969), 65-66.
Espich, James E., and Williams, Bill. Developing Programmed Instructional Materials. New York: Fearon, Inc., 1967.
Green, Edward J. The Learning Process and Programmed Instruction, New York: Holt, Rinehart and Winston, 1963.
Horacek, Leo, and Lefkoff, Gerald. Programmed Ear Training. 4 Vols. New York: Harcourt, Brace, Jovanovich, Inc., 1970.
Hughes, J. L. Programmed Instruction for Schools and Industry. Chicago; Science Research Associates, Inc., 1962.
Kraft, Leo. A New Approach to Ear Training, A Progranmied Course in Melodic Dictation. New York: W. W. Norton and Co., 1967.
La Porta, John. Ear Training, Phase I. Boston: Berklee Press Publications, 1970.
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59
Lieberman, Maurice. Ear Training and Sight Singing. New York; W. W. Norton, 1959.
McHose, Allen Irvine. Teacher's Dictation Manual. New York; Appleton-Century-Crofts, Inc., 1948.
Sherman, Robert W., and Knight, Morris H. Aural Comprehension in Music. 2 Vols. New York: McGraw-Hill Book Co., 1972.
van Appledom, Mary Jeanne. Keyboard, Singing and Dictation Manual Dubuque, Iowa: Wm. C. Brown Company, 1968.
Wittlich, Gary E., and Humphries, Lee. Ear Training, An Approach through Music Literature. New York; Harcourt, Brace, Jovanovich, Inc., 1974.
Wood, Carl Paige. Ear Tests in Harmony. New York; American Book Company, 1936.
