Jimmy McKenzie

MUED 371

11 September 2018

Independent Research Proposal

The ability to accurately and reliably aurally analyze both the music they play and

performances by others is one of the most fundamental skills that a musician can possess. Since

music learning continues long after students leave school, it is imperative that music educators

properly equip young musicians with the tools to write, analyze, and dictate/cover melodies and

chord progressions. Therefore, in this paper, I intend to explore the benefits of ear training in

beginning music scenarios, particularly of young musicians, and how those benefits might make

non-formal music education more accessible.

First, I will take a deep look into studying music without notation. Outside of formal

settings, the presence of notation is relatively slim, and likely does not contain all of the nuances

and markings that are customary to our current form of music engraving. It is therefore pertinent

that students be able to create music without relying on the staff.

Next, I will examine techniques that might be appropriate for teaching aural skills to late

elementary or middle school students. My research will view the presence of solfege for pitch,

TaKaDiMi for rhythm, as well as any other tools that a teacher may find useful.

I will conclude by examining the benefits of implementing aural skills into early music

classrooms as a method of benefiting the students in the long-run.

Sources that I intend to use:

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Students Music Achievement. Journal of Research in Music Education,42(1), 88.
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Bernhard, H. C. (2002). Singing in Instrumental Music Education: Research and

Implications. Update: Applications of Research in Music Education,22(1), 28-35.
doi:10.1177/87551233020220010501

Bilhartz, T. D., Bruhn, R. A., & Olson, J. E. (1999). The Effect of Early Music Training on Child
Cognitive Development. Journal of Applied Developmental Psychology,20(4), 615-636.
doi:10.1016/s0193-3973(99)00033-7

Grutzmacher, P. A. (1987). The Effect of Tonal Pattern Training on the Aural Perception,
Reading Recognition, and Melodic Sight-Reading Achievement of First-Year Instrumental
Music Students. Journal of Research in Music Education,35(3), 171. doi:10.2307/3344959

Hansen, D., & Milligan, S. A. (2012). Aural Skills: At the Juncture of Research in Early Reading
and Music Literacy. Music Educators Journal,99(2), 75-80. doi:10.1177/0027432112462894

Harrison, C. S., Asmus, E. P., & Serpe, R. T. (1994). Effects of Musical Aptitude, Academic
Ability, Music Experience, and Motivation on Aural Skills. Journal of Research in Music
Education,42(2), 131. doi:10.2307/3345497

Hayward, C. M., & Gromko, J. E. (2009). Relationships Among Music Sight-Reading and
Technical Proficiency, Spatial Visualization, and Aural Discrimination. Journal of Research in
Music Education,57(1), 26-36. doi:10.1177/0022429409332677

Johansson, K. (2004). What Chord Was That? A Study Of Strategies Among Ear Players In
Rock Music. Research Studies in Music Education,23(1), 94-101.
doi:10.1177/1321103x040230011101

Jordan-Decarbo, J. (1982). Same/Different Discrimination Techniques, Readiness Training,

Pattern Treatment, and Sex on Aural Discrimination and Singing of Tonal Patterns by
Kindergartners. Journal of Research in Music Education,30(4), 237-246. doi:10.2307/3345297

Sheldon, D. A. (1998). Effects of Contextual Sight-Singing and Aural Skills Training on Error-
Detection Abilities. Journal of Research in Music Education,46(3), 384-395.
doi:10.2307/3345550

White-Schwoch, T., Carr, K. W., Anderson, S., Strait, D. L., & Kraus, N. (2013). Older Adults
Benefit from Music Training Early in Life: Biological Evidence for Long-Term Training-Driven
Plasticity. Journal of Neuroscience,33(45), 17667-17674. doi:10.1523/jneurosci.2560-13.2013