Abstract
Abstract An alarmingly large proportion of musicians, questioned about their own experiences of aural training, admit that they disliked it, thought they were bad at it, and have found it largely irrelevant to their subsequent engagement in music. Something is clearly wrong. Aural perception is self-evidently indispensable in musical activity, in creating through composing, re-creating in performance, responding as a critical listener. Either many musicians should have taken up other careers, as brain-surgeons, say, or bookmakers, or else the content and methods of aural training and testing are inappropriate to their presumed purpose of developing musical perceptions.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
