Subject: Re: Aural Training in Electroacoustic Studies...
From: Kevin Austin (email@example.com)
Date: Sat Aug 20 2005 - 15:17:59 EDT
I have found that the approaches taken are best determined by the
objectives and the amount of time available.
With young students and general interest, exploratory methods can be
a way of developing and maintaining interest. With a university class
of 37, average age 22, and 13 weeks, if the objective is the
development of a strong basic set of skills, then I have found that a
formalized structure of some kind is most effective.
Jazz Improv classes that I have observed are about the development of
skills that will later be employed. "Improvisation" is not a large
part of the early class work. Students require a solid technical
basis with their instruments so that they can develop the higher
level skills of real-time composition / variation / manipulation.
An issue in college and university education in sound is that there
simply aren't enough credits allocated to the areas involved. A
performance student has private lessons, chamber music, large
ensemble, repertoire, history and ear-training, above basic theory
courses, but students in ea are lucky to have even 2 courses per
semester devoted to their discipline -- Electroacoustic Studies.
>I am also trying to think of intuitive ways of introducing aural and
>listening skills to my students at further education level. One
>possibility of development I thought possible was by free
>Improvisation, thus developing their ears within a real situation.
>This will help to speed up their intuitive reactions to istening.
>Then to develop this further I thought a group analysis which would
>involve both aural and listening skills. By listening back to their
>own creation they will have already gained the 'previous knowledge
>that might help them to push that little bit further'.
>Thoughts on this would be appreciated!
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