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Updated: June 21, 2025
The question of discipline is an easy one with an individual pupil, but in class work it assumes a different proportion. For the purpose of teaching ear-training, without instrumental work, a high degree of musical gift is not necessary.
The student who can tell a diminished seventh, or an augmented sixth at a glance, but who could not identify the same chords when he saw them through his ears instead of his eyes is severely handicapped. But how many musicians can do this? Ear-training should be one of the first of all studies.
A few citations from standard writers on the voice will show the estimation in which ear-training is held. To begin with, the old Italian masters were fully alive to the necessity of cultivating the sense of hearing, as witness Tosi: "One who has not a good ear should not undertake either to instruct or to sing."
To learn this lesson from him has been my greatest aim, and to see him at work, as it has been my privilege to do for several summers, has been of the greatest influence and inspiration in my own work. "My chief endeavor is to create a desire for good musicianship. To this end I insist upon the study of theory, harmony, ear-training and analysis.
By ear-training I mean the differentiation of sounds articulate, inarticulate, and musical fixing the child's attention and causing it to imitate. As every sound requires a particular movement of the vocal apparatus, the child will soon be able to adapt its apparatus unconsciously and to distinguish accurately.
A student who takes every opportunity given to her during her year of training will not only learn how to organize the general musical life of a school, through the medium of ear-training and song classes, recitals, music clubs, &c., but will be ready and proud to show initiative in other directions.
An experienced teacher will find plenty of similar ways for producing new interest in the lessons, even though the actual amount of work done be necessarily small. Nothing is gained by hurrying over the initial stages of ear-training. The foundation must be securely laid, or trouble will come later.
Nothing is more delightful than to hear young children sing quietly, and without in any way forcing their voices. So long as the work done in ear-training is in the very elementary stages the best form of dictation will be: 1. Ear tests, consisting of two to three notes at a time, which should be written in staff notation as soon as possible.
"There can be no doubt that the nervous impulses that pass from the ear to the brain are of all sensory messages the most important guides for the outgoing ones that determine the necessary movements." Summing up the matter of ear-training and vocal guidance Dr.
I should deeply regret to think that Americans would judge my work as a composer by my "Polish Dance" and some other lighter compositions which are obviously inferior to my other works. Is any time spent in music study really wasted? How may the pupil's elementary work be made more secure? State the importance of ear-training.
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