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To make a 401-page story shorter: As many as "three of the five subjects who completed the training regimen actually became possessors " 1 despite the brief training period. Research on Burge's Absolute Pitch methods was first conducted at the Ohio State University. Students become Absolute Pitch possessors Independent research from two leading universities would later show dramatic results with Burge's Absolute Pitch methods. Even so, thousands of musicians took up the program. The music world became intrigued, though at that time there was no research to substantiate his methods. Yet the debate about Perfect Pitch had raged for decades: Could you develop it? Or was it a supernormal hearing skill that only the elite are born with?ĭavid Lucas Burge released his simple secret to Absolute Pitch in the March 1981 issue of Contemporary Keyboard (now Keyboard magazine).
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A more holistic approach, which will acknowledge the richness of our relationship to music and be rooted in absorbed aural experience, is proposed as a possible alternative to 'aural training'.Independent research at leading universities demonstrates the power of Burge's methods.įrom the Far East to the Far West, musicians in over 120 countries have already learned the simple secrets to Perfect Pitch (known in scholarly circles as Absolute Pitch). Findings emphasise the multi-faceted and subjective character of our relationship to music the inter-connection between different ways of experiencing musical sound the ubiquitous presence of emotion in all of these the richness of implicit forms of knowing and the inestimable importance of assimilated aural experience for learning, performing and improvising music. As a result of this investigation, a number of pedagogical principles are proposed, as a possible way of widening ‘aural training’ into a broader, more relevant and effective form of ‘aural education’. Aiming to contribute to this discourse, the present study seeks to explore the practice of ‘aural training’ from historical, pedagogical, psychological and cultural perspectives. During the last four decades or so, many educators across countries have proposed different approaches to broadening the content and methods of this type of course, aiming to highlight its connections with other subjects of the music curriculum and enhance its overall relevance for the music student and their future professional needs. Criticisms pertain to issues such as a perceived narrow focus on pitch and rhythm, acontextual treatment of musical material, emphasis on reproductive activities and on verbalisable musical knowledge, along with a longstanding neglect to forge links between ‘aural training’ and music psychology. More recently, however, empirical research has shown music teachers and students to be often negatively predisposed towards this branch of music education, across different levels. Guido’s system, as well as later uses of solfège and dictation in 19th-century European and American schools and choirs, aimed to aid and facilitate musical learning for both children and adults. Traditionally, it focuses on pitch and rhythm, and features the practices of solfège and dictation, which can be traced back to the work of Guido d’ Arezzo in the 11th century. ‘Aural training’ has been a part of Western tertiary formal music education from the latter’s beginnings in the 19th century.
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Aural education and its pedagogical conceptualisation.pdf