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