School curricula in the United States tend to focus on students' visual sense, making the teaching and learning of aural art a unique and challenging endeavor. In this philosophical inquiry with practical applications, I propose that the music curriculum be reevaluated with an ear toward the quality of sounds students hear daily as a foundation…

Listening skills are fundamental in the author's approach to teaching music to children. As a Suzuki instructor, the author is always looking for ways to help students listen more effectively. This article sets forth ways listening can be fostered, both in private instrumental study and in general music preschool and elementary classrooms. The…

Many high schools in the U.S. offer Advanced Placement (AP) courses in music theory for students wishing to study music at the college level. Others devote part of the music curriculum to theory and aural-skills instruction, but do not offer AP courses. In either case, high school theory and aural-skills courses typically strive to cover all, or…

Hearing-impaired children need not be excluded from the music classroom. Even the severely hearing-impaired child can receive sensory satisfaction and valuable auditory training from experiences with music. How music can enrich the lives of the hearing-impaired is discussed. (RM)

Considers some ways in which choral directors can help choristers improve intonation. Suggests music exercises for vertical and horizontal intonation and unified vowel formation. Also discusses physical factors, including tension, poor posture, and poor breath management, that influence how well a chorus stays in tune. Outlines relaxation and…

The author discusses the importance of improvisation, suggesting that improvisation be introduced in the earliest stages of education and be taught through an approach that integrates ear training, sight-reading, instrumental and vocal techniques and theory into a unified and complete understanding of music as a language. (Author/KC)

A musical ear is widely accepted as an essential ingredient in the education of successful music students. Most music educators believe that without a well-developed ear, it's impossible for a musician to function on a professional level as a teacher, conductor, performer, or composer. The purpose of this article is to introduce the concept of…

In this article, the author discovers an approach to teach her budding instrumentalists using an approach that is centered on the early development of aural skills and on research that links ways of learning music to those of learning language. This approach is based on her experience in adapting Gordon's Music Learning Theory, although many of…

Article discusses music education programs for deaf children to learn to recognize vibrations of tones in different parts of the body and how music is used as an aid in teaching rather than teaching music as an end in itself. (Author/MM)

Explains how the ear and the brain work together to make music listening possible. Argues good hearing does not ensure skilled listening, stressing that listening is a mental process. Examines the aural process and properties of sound, and describes listening behaviors within the basic levels of auditory processing. Provides a guide for teaching…

Suggests effective music instruction helps children use extramusical analogies to describe what they hear. Introduces music vocabulary, and asks questions that guide students to complete musical descriptions. Claims meaningful description is the result of training that is focused on developing listening skills. (NL)

Analyzes factors that affect listening as it relates to school band and orchestra rehearsal. Suggest that music selection, rehearsal atmosphere, and techniques that isolate specific sounds and musical elements best help students develop music listening skills. Urges conductors to promote students' active involvement in rehearsals by balancing…

Addresses choral music directors' concerns about ways in which trained and untrained audiences hear and evaluate choral music performances. Considers differing responses to two musical selections. Confirms listening skills are teachable. Offers suggestions for improving listening skills, emphasizing structure in formal auditory training. (CH)