Practical Use of Aural Perception
January 8th 2007 14:17
Subjects in university music courses that teach aural skills, along with sections of high school syllabuses containing such exercises, are often seen as an unrequired irritation by students. Given the huge variance in natural ability that different people possess regarding these skills, it is no wonder that many view it as unfair that blanket courses are often applied to all students. However, development of these skills, regardless of the level a person starts at, holds huge and tangible musical rewards.
As a teacher, possessing good aural skills is invaluable. In any situation where a student wants to work on repertoire that their teacher might not be familiar with, provided the teacher has a score, they can still give feedback, correct possible wrong notes, understand structural implications and so on without needing to ever pick up their instrument. This is especially valuable if a teacher needs to deliver a masterclass or give feedback to works played on an instrument other than their own. Beyond the simple ability to relate what is on a page to what is heard, probably the most important skill that needs to be possessed by a teacher is an ability to pick up on the tiniest nuances in performances, and to hear the wealth of small details that make each performance unique. This perception, coupled with a solid musical and instrumental understanding, is probably what separates many highly skilled teachers.
In areas besides teaching, aural perception also helps in varied ways. To compose, it is an important to be able to translate ideas from an intangible thought to sheet music without first having to work them out on an instrument. While it is true that you could still be a composer and need to sit down to work out any musical ideas you have, in the same way that sight reading isn't technically a necessity of a performer, these skills speed up the process dramatically and make a more flexible musician. Similarly, while it possible for a brilliant performer to have only basic or even terrible aural skills, the internalization of harmonies and intervals can make life much easier for them. Tuning is the most obvious application, but sightsinging and melodic dictation practice help to give an aural picture of a new piece of music before it is played on an instrument. This allows performers to be much better sightreaders, and also to learn and internalize pieces of music at a faster rate.
There doesn't need to be a basis in career skills for enhanced aural skills though. The greater someone's aural skills, and the greater their ability to recognize the use of various musical devices in a composition, the more they are likely the appreciate all that goes into a piece of music. While completely untrained people can of course be affected emotionally or intellectually stimulated by music, it is at least my opinion that there is something more to be gained through hearing what time signature changes are occurring rather than just feeling an unsteady beat, or recognizing interesting chromatic chords rather than just noticing some strange harmonies. The study of music at any level is made so much more exciting by an aural recognition of the extreme complexity that exists in all fields of music.
For jazz musicians, the ability to hear what is going on around them and react is vital.
In areas besides teaching, aural perception also helps in varied ways. To compose, it is an important to be able to translate ideas from an intangible thought to sheet music without first having to work them out on an instrument. While it is true that you could still be a composer and need to sit down to work out any musical ideas you have, in the same way that sight reading isn't technically a necessity of a performer, these skills speed up the process dramatically and make a more flexible musician. Similarly, while it possible for a brilliant performer to have only basic or even terrible aural skills, the internalization of harmonies and intervals can make life much easier for them. Tuning is the most obvious application, but sightsinging and melodic dictation practice help to give an aural picture of a new piece of music before it is played on an instrument. This allows performers to be much better sightreaders, and also to learn and internalize pieces of music at a faster rate.
There doesn't need to be a basis in career skills for enhanced aural skills though. The greater someone's aural skills, and the greater their ability to recognize the use of various musical devices in a composition, the more they are likely the appreciate all that goes into a piece of music. While completely untrained people can of course be affected emotionally or intellectually stimulated by music, it is at least my opinion that there is something more to be gained through hearing what time signature changes are occurring rather than just feeling an unsteady beat, or recognizing interesting chromatic chords rather than just noticing some strange harmonies. The study of music at any level is made so much more exciting by an aural recognition of the extreme complexity that exists in all fields of music.
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