Date of Degree
DMA (Doctor of Musical Arts)
First Committee Member
Second Committee Member
Third Committee Member
Fourth Committee Member
Traditionally, collegiate ear training classes in the United States are comprised largely of notation-based exercises and assignments, administered to small groups by a single teacher. Aside from the piano, instruments generally are not used during ear training classes, de-emphasizing the perceived correlation between students' aural skills development and their progress as instrumentalists.
By studying the history of music education, and examining current aural skills pedagogy, the author has found that common practice often relies on notation-based tasks as a measurement of success, despite the fact that research supports the effectiveness of aural-based learning.
In order to encourage a better understanding of pitches and rhythms, the author composed fifteen original etudes ("Ear-tudes") for tuba with accompanying drills. Before revealing each Ear-tude, the instructor leads the student through related drills. Each of the Ear-tudes focuses on a particular interval, scale-type, rhythmic, or tonal challenge, within a variety of meters, tempi, and styles, all of which are suitable for the typical first year tuba student. This method provides an innovative way for tuba teachers to integrate ear training into their instruction, alongside a new collection of etudes designed specifically for freshman students.
ear training, etudes, pedagogy, tuba
v, 123 pages
Includes bibliographical references (pages 115-123).
Copyright 2013 Katharine Jane Wohlman