DOI

10.17077/etd.u4pzoy77

Document Type

Dissertation

Date of Degree

Spring 2013

Degree Name

DMA (Doctor of Musical Arts)

Degree In

Music

First Advisor

John Manning

First Committee Member

David Gier

Second Committee Member

Jeffrey Agrell

Third Committee Member

Jennifer Iverson

Fourth Committee Member

David Gompper

Abstract

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.

Keywords

ear training, etudes, pedagogy, tuba

Pages

v, 123 pages

Bibliography

Includes bibliographical references (pages 115-123).

Copyright

Copyright 2013 Katharine Jane Wohlman

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