Teaching Ear Training Online Dr. Jenine Brown Dr. Gary S ...€¦ · • Record a video of yourself...

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Teaching Ear Training Online Dr. Jenine Brown Dr. Gary S. Karpinski

Outline of Today’s Webinar:

•  Dr.JenineBrown:•  Teachingandassessingsightsingingonline(prepared

singing,“atsight”singing,andotheractivities)

•  Dr.GaryS.Karpinski:•  Teachingandassessinglisteningskillsonline(dictation,

transcription,andotheractivities)

•  Q&A

In-person ear-training classes at Peabody:

•  25minutes,M–F

•  Classesconsistedofteachingcontent,groupsinging,anddictationexercises

•  Tome,assessmentofindividualsingingisnotaneffectiveuseofclasstime.

Ways of assessing sight singing outside of class:

•  “Prepared”singingassignments:•  VideossubmittedinBlackboard:1x/wk

•  “Atsight”assignments:

Ways of assessing sight singing outside of class:

•  “Prepared”singingassignments:•  VideossubmittedinBlackboard:1x/wk•  SmartMusicuntimedassignments:1x/wk

•  “Atsight”assignments:

Ways of assessing sight singing outside of class:

•  “Prepared”singingassignments:•  VideossubmittedinBlackboard:1x/wk•  SmartMusicuntimedassignments:1x/wk

•  “Atsight”assignments:•  SmartMusictimedasst:1x/wk(or,duringanexamweekI’ll

meetwithstudentsinZoomforsight-singingexams)

Ways of assessing sight singing outside of class:

•  “Prepared”singingassignments:•  VideossubmittedinBlackboard:1x/wk•  SmartMusicuntimedassignments:1x/wk

•  “Atsight”assignments:•  SmartMusictimedasst:1x/wk(or,duringanexamweekI’ll

meetwithstudentsinZoomforsight-singingexams)

•  Ensemblesingingassignments:1x/wk

Multi-part singing assignment ideas:

•  “Singthisduetwithme”•  Recordavideoofyourselfsingingthetrebleclefpartwhilelisteningtoarecordingofyourselfsingingthebassclefpart.

•  RecordyourselfsingingallfourpartsofaBachchoraleinopenscore.

•  Pairingstudentstogetherandhavingthemrecorddifferentparts,etc.

Important considerations:

▶ Goodonlinecoursedevelopmenttakesalongtime.

▶ Howcanwetranslateourdeeplypersonalclasstoanonlinesetting?(Perhapsthereareevensomeelementsthatworkevenbetteronline!)

▶  Letgooftryingtotranslateaface-to-faceclass1:1totheonlinesettingandchallengeyourselftoembracewhatonlineteachingoffers.Becreativeandadaptive!

Helpful tools:

▶  Sight-singingtools:–  SmartMusic(home.smartmusic.comusingtheChromebrowser)–  SoundCheck(www.noteflight.com/soundcheck)–  EarMaster(www.earmaster.com)–  SightReadingFactory(www.sightreadingfactory.com)

▶  ApplicationsthatmayimprovesynchronousperformanceinZoom:cleanfeed.net,SoundJack,JamKazam,andJamulus(Ihaven’ttriedthesemyself.)

▶  Tuningapps(TonalEnergy,insTuner,etc.)▶  Singscope(iOSapp):Helpswithintonation

A screenshot of Singscope from my iPhone after singing a C major scale.

Questions?

Jenine Brown Jenine.Brown@jhu.edu

© The Johns Hopkins University 2019. All Rights Reserved.

Department of Music & Dance

Gary S. KarpinskiDepartment of Music & Dance

University of Massachusetts Amherstgarykarp@music.umass.edu

Dictation, Transcription,and Other Listening Activities

in the Age of Coronavirus

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— Javier Marías, A Heart So White

Listening is the most dangerous thing of all,listening means knowing

— Robert Schumann, Musikalische Haus- und LebensregelnDeveloping the ear is of the utmost importance

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Hard at work

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—NASM Handbook 2019-20, pp. 102-103

NASM’s Only Listening Requirement

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Pulse-Graph (Bartók, Bulgarian Dance No. 6)

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Protonotation

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Dictation

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Transcription

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Dictation Transcription

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Differences Between Dictation & Transcription

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Differences Between Dictation & Transcription

Dictation

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Differences Between Dictation & Transcription

Dictation• specific number of playings

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Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing

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Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing• each listening in toto

15Department of Music & Dance

Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing• each listening in toto

Transcription

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Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing• each listening in toto

Transcription• unlimited number of playings

17Department of Music & Dance

Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing• each listening in toto

Transcription• unlimited number of playings

• unlimited time after each playing

18Department of Music & Dance

Differences Between Dictation & Transcription

Dictation• specific number of playings

• time limit after each playing• each listening in toto

Transcription• unlimited number of playings

• unlimited time after each playing• recording may be stopped and started

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A Model for Music Perception During Melodic Dictation

Focused attention

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A Model for Music Perception during Melodic Dictation

Focused attention

Short-term melodic memory

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A Model for Music Perception during Melodic Dictation

Focused attention

Short-term melodic memory

Understanding

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A Model for Music Perception during Melodic Dictation

Focused attention

Short-term melodic memory

Understanding

Notation

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The Effects of Substituting Transcription for Dictation

Focused attention

Short-term melodic memory

Understanding

Notation

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The Effects of Substituting Transcription for Dictation

Focused attention

Short-term melodic memory

Understanding

Notation

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The Effects of Substituting Transcription for Dictation

Focused attention

Short-term melodic memory

Understanding

Notation

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Transcription Can Become a Pitch-Matching Exercise

&

435

cantando

p˙ œ .œ œ œ œ œ œ œ œ .˙

& 9

3

œ œ œ3

œ œ œ3

œ œ œ ˙ œ œ3

œ œ œ3

œ œ œ3

œ œ œ .˙

& 13

πœb . œ œ œb . œ. œn . œb . œ- œ-

ten.

œ œ œ œn œ. œ. œ. œ. œ.Œ Œ

Moritz Moszkowski, Guitarre, Op. 45, No. 2, mm. 5-16Allegro comodo.

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Transcription Can Become a Pitch-Matching Exercise

&

435

cantando

p˙ œ .œ œ œ œ œ œ œ œ .˙

& 9

3

œ œ œ3

œ œ œ3

œ œ œ ˙ œ œ3

œ œ œ3

œ œ œ3

œ œ œ .˙

& 13

πœb . œ œ œb . œ. œn . œb . œ- œ-

ten.

œ œ œ œn œ. œ. œ. œ. œ.Œ Œ

Moritz Moszkowski, Guitarre, Op. 45, No. 2, mm. 5-16Allegro comodo.

28Department of Music & Dance

Transcription Can Become a Pitch-Matching Exercise

&

435

cantando

p˙ œ .œ œ œ œ œ œ œ œ .˙

& 9

3

œ œ œ3

œ œ œ3

œ œ œ ˙ œ œ3

œ œ œ3

œ œ œ3

œ œ œ .˙

& 13

πœb . œ œ œb . œ. œn . œb . œ- œ-

ten.

œ œ œ œn œ. œ. œ. œ. œ.Œ Œ

Moritz Moszkowski, Guitarre, Op. 45, No. 2, mm. 5-16Allegro comodo.

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Problems with Audio Fidelity

Frequency response

Distortion

overtonesbass register

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Problems with Videoconferencing Software

Latency (or “lag”)

Dropouts

Artifacts

Freezing

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Problems with Time to Submit Responses

Scanning or photographing

Uploading images

Server functions

Transmission

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Default Zoom Audio Processing

Source: unimelb.edu.au

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Adjust Zoom Settings for Better Audio

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Zoom “Original Sound” Audio

Source: unimelb.edu.au

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Frequency Response — Apple EarPods

Source: rtings.com

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Frequency Response — Sony MDRZX110 Headphones (ca. $15)

Source: rtings.com

Department of Music & Dance

Gary S. Karpinski

Department of Music & DanceUniversity of Massachusetts

Amherst

garykarp@music.umass.edu

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References

https://www.rtings.com/headphones/tests/sound-quality/raw-frequency-response

https://le.unimelb.edu.au/video-and-media/additional-media-production-services/performing-music-over-the-internet

Karpinski, G. S. (1990). A model for music perception and its implications in melodic dictation. Journal of Music Theory Pedagogy4: 191-229.

______ (2000). Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians.New York: Oxford University Press.

______ (2011). The view from the aural skills classroom. Paper delivered to the 87th annual meeting of the National Associationof Schools of Music.

NASM (2020). Handbook 2019-20. Reston, Virginia: National Association of Schools of Music.