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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.
© The Johns Hopkins University 2019. All Rights Reserved.
Department of Music & Dance
Gary S. KarpinskiDepartment of Music & Dance
University of Massachusetts [email protected]
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
12Department of Music & Dance
Differences Between Dictation & Transcription
Dictation• specific number of playings
13Department of Music & Dance
Differences Between Dictation & Transcription
Dictation• specific number of playings
• time limit after each playing
14Department of Music & Dance
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
16Department 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
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
20Department of Music & Dance
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
22Department of Music & Dance
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
24Department of Music & Dance
The Effects of Substituting Transcription for Dictation
Focused attention
Short-term melodic memory
Understanding
Notation
25Department of Music & Dance
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
38Department of Music & Dance
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.
