Background and Aim: Ear training is a critical component of music education, enabling musicians to develop auditory perception, pitch recognition, and musical comprehension. Traditional ear training methods often rely on instructor-led drills and passive listening exercises, which may not accommodate individual learning paces and provide immediate feedback. Intelligent Tutoring Systems (ITS) have emerged as a promising solution, offering personalized, adaptive learning experiences. However, the long-term impact of ITS on ear training remains underexplored. This study aims to evaluate the effectiveness of continuous ITS exposure and the impact of transitioning from Sight-Singing and Ear Training Master (SSETM) to Yin-Ke (YK) over two semesters. Materials and Methods: A quasi-experimental design was employed, involving 85 undergraduate students (64.7% female and 35.3% male) at a university in China. Participants were divided into two groups: Group A used YK continuously for both semesters, while Group B transitioned from SSETM in the first semester to YK in the second semester. Performance was assessed through pre- and post-tests measuring four auditory skills: aural dictation, interval recognition, chord recognition, and melodic dictation. Data were analyzed using paired samples t-tests to evaluate within-group improvements and Repeated Measures ANOVA to examine the effects of time and the transition to YK on skill development. Results: The results indicate that ITS significantly improved students’ auditory skills over the course of two semesters. Group A (continuous YK exposure) showed significant gains in aural dictation (p < .001), chord recognition (p = .018), and melodic dictation (p = .002). Group B (SSETM to YK transition) demonstrated significant improvements in aural dictation (p < .001), interval recognition (p = .002), and chord recognition (p < .001). A Repeated Measures ANOVA confirmed that time had a significant effect on aural dictation (p = .023, η² = 0.061), interval recognition (p = .006, η² = 0.09), and chord recognition (p = .012, η² = 0.074), while melodic dictation showed only marginal improvement (p = .079, η² = 0.037). A significant interaction effect for chord recognition (p = .004, η² = 0.098) suggests that Group B experienced greater improvement in this skill after transitioning to YK. Post hoc comparisons confirmed significant gains in aural dictation (p < .001), interval recognition (p = .037), and chord recognition (p < .001), while melodic dictation did not show a significant improvement (p = .786). This indicates that neither intervention method substantially enhanced this skill. Group B’s significant gains after adopting YK confirm its superiority over SSETM in facilitating ear training. These findings confirm the long-term effectiveness of ITS, particularly for aural dictation, interval recognition, and chord recognition, while suggesting that additional instructional strategies may be needed to improve melodic dictation. Conclusion: This study provides empirical support for the sustained effectiveness of ITS interventions in ear training, demonstrating that both continuous and transitioned ITS interventions improve auditory skills. The findings confirm YK’s superiority over SSETM, reinforcing its role as a viable instructional tool. However, the limited progress in melodic dictation suggests the need for supplementary pedagogical strategies. Future research should expand the sample size and include multiple universities to enhance generalizability. Investigating ITS applications at different educational levels, such as high school and middle school, could assess broader applicability. Additionally, exploring teachers' perspectives and their integration of ITS into instruction would provide valuable insights into adoption challenges and instructional effectiveness.

This research aims to map the trends in international scientific publications related to solfeggio-based music education during the period 2016–2025 and to identify its implications for learning in non-music vocational high schools. The method used is a bibliometric study by analyzing data from the Scopus database using the keywords solfege, ear training, sight singing, sight reading, and music pedagogy. The data were analyzed using the VOSviewer tool to map trends, keyword clusters, and research focus. The results show that publications during the period 2021–2025 experienced a significant increase and formed three main clusters, namely music pedagogy and learning design, aural skills, and formal educational contexts such as conservatories. However, there is no focus on non-music vocational education contexts, indicating a research gap. These findings emphasize the need for the development of an inclusive, adaptive, and contextual solfeggio learning model, particularly for vocational high school students who do not have a formal music education background. This study provides an initial contribution in bridging the gap between formal music education studies and the need for musical learning in non-music vocational environments, as well as opening opportunities for the development of applied research in the future.

The Guqin, an ancient seven-stringed Chinese zither with a history spanning over 3,000 years, has long been revered as a tool for self-cultivation, artistic refinement, and cultural expression. This study examines the impact of Guqin education on enhancing musical literacy in contemporary China. Conducted in Huizhou, Anhui Province, a historically significant region for Guqin transmission, the study employed a qualitative research approach, including semi-structured interviews, classroom observations, and document analysis. Two key informants, a master-level Guqin performer, and a Guqin society leader, provided expert insights into the pedagogical significance of Guqin education. The findings reveal that Guqin instruction fosters a deeper understanding of Chinese musical aesthetics, enhances students’ ear training, and strengthens their connection to cultural heritage. Despite these benefits, challenges such as limited institutional support and difficulties adapting to traditional notation persist. This study suggests integrating Guqin education into mainstream curricula, developing structured teacher training programs, and promoting cross-cultural collaborations to preserve this invaluable musical tradition. By revitalizing Guqin education, China can cultivate a new generation of technically proficient musicians deeply connected to their cultural roots, ensuring the sustainability of traditional music for future generations.

This paper investigates the potential benefits of integrating 21st-century skills into specifically designed novel activities in an ear training course. Drawing initial inspiration from the National Council for Social Studies’ 4Cs framework, the study explores the synergies between collaboration, critical chinking, creativity, and systematic thinking, as well as the role of technology in enhancing ear training in music studies. The research design follows an action research model, conducting a thorough examination of four specifically-designed novel activities in an ear training course: (1) strategic group games (2) Sing & See (3) dictation with different instrument sounds; and (4) creating stories for musical passages. Each activity aligns with at least two specific 21st-century skills, encompassing (I) Critical thinking, (II) Collaboration, (III) Problem-solving, (IV) Creativity, and (V) Technological literacy; the researchers aimed to determine if these activities have the potential to enhance (a) musical hearing, (b) solfège (c) listening. Data collection employed a multi-faceted approach, incorporating expert opinions, student self-assessment forms, and researcher diaries. Data analysis involved narrative synthesis, extracting and then compiling recurring themes from expert, student, and researcher evaluations. Findings reveal positive outcomes in terms of improved student engagement, adaptability and potential exposure to critical thinking, problem solving, and collaboration. Additionally, technology emerges as a valuable tool for interactive learning experiences, enriching creativity, critical thinking, and collaboration. This research contributes to the evolving landscape of music education by proposing an integrative approach that prepares students for the challenges of the 21st century.

Constantin Pigrov played a crucial role in the development and education of the first generations of choristers within the Doina Choral Chapel, becoming one of the most important conductors in the history of this ensemble. His methodological principles focused on intonational precision, voice development, and the musical ear training of the singers. His work as conductor of the Doina Choral Ensemble was based on talent selection, the formation of a diverse repertoire, and the continuous technical training of the performers. His methodology was materialized in the monograph Choral Leadership (1964), which influenced conducting and pedagogical activities in Odessa and throughout the USSR. His work had a significant impact on professional choral culture and was recognized as a model for training choral conductors.

This article presents and examines a set of short exercises designed to improve improvisation skills and develop harmonic interest in single-line melodies. For aspiring improvisers, the preparation, practice and spontaneous performance required to effectively improvise on a jazz standard can appear daunting. The basic elements include mastering the appropriate scales, guide tones, arpeggios (with or without extensions such as 9ths, 11ths, 13ths), ear training and developing rhythmic proficiency. Jazz improvisation, despite its inherent spontaneity, often involves significant advance preparation. This contrasts with the literal meaning of the 16th century Italian word "improvisare" which means to perform on the spot without preparation. Playing over chord changes demands a solid understanding of harmony, along with the ability to apply this knowledge in real time. In the initial stages of learning, students focus on mastering the correct scales. As they progress, they explore how to navigate chord progressions effectively, enabling them to create melodies that resonate harmonically with the underlying chord. Common techniques such as targeting chord notes, guide tones, tensions, and chromatic approaches, create emotional impact and harmonic expectation. Developing these competencies is a gradual process that requires significant time and harmonic knowledge and is often deferred to later stages in the learning journey, with initial focus on playing scale patterns. In essence, when a student is unable to outline the chord(s) they typically resort to playing scale patterns as an alternative. How can we integrate harmonic interest into our improvisational practice without requiring extensive knowledge of music theory? Is it possible to cultivate harmonic interest in improvisation at an early stage without playing over predefined chord progressions such as IV-V-I or II-V-I? The objective of this approach is to design a practice routine with simple exercises that plant the seeds for harmonic interest in melodic ideas for improvisation through the use of leaps. The proposed exercises take a slightly different approach by emphasizing the use of jumps or leaps at an earlier learning stage. They are based on my own teaching experience and the teachings that were passed down to me over the years. These exercises are applicable to both beginners and more experienced improvisers and focus on a single key center. Over time, these drills become second nature, enabling us to apply them seamlessly in our improvisation. Furthermore, these routines will enhance our harmonic ear. When we jump or leap from one note to another, thus creating an interval of a third or greater, our brain engages in a fascinating process. A virtual note or virtual resonance is created. It is a note that appears to be present although it is not explicitly played. Our brain retains the memory of the first note at the time the second note is played, creating the auditory impression of an interval, thereby generating harmonic interest. It can even imply a chord. In the exercises presented each note that jumps is resolved to the underlying chord triad through correct voice leading. A rhythm track and drone of the underlying triad is used to help us hear the resolutions and make the exercises more enjoyable to practice. The first exercise introduces this principle by utilizing only diatonic notes with immediate resolution to the triad. It involves single leaps from a chord tone to a non-chord tone that is then resolved back using proper voice leading. This drill is meant to make voice leading a natural skill, so it becomes second nature. We memorize the resolution paths to the target notes, and this might take some time for an aspiring improviser, but it will become easier when scale fragments are added later. The second exercise consists of two consecutive leaps. Both leaps are resolved to the chord note but the resolution of the first note is delayed, resulting in immediate and delayed resolution of non-chord tones. Again, only diatonic notes are used here. This is more complex as we need to memorize the two notes that need to resolve. In the third exercise scale passages are added to exercises one and two. When playing scales in steps no resolution is needed, which will make it a bit easier to apply in improvisations. The fourth exercise adds rhythm displacement to the above. Lastly the fifth exercise uses all chromatic notes and applies them to the previous exercises. The result is an improvisational device that uses leaps, scale fragments, or both that are resolved using voice leading principles of Western tonal music. Over time and with good practice these techniques will blend into your improvisational language, promoting your harmonic interest and developing your ear. After all, an improviser sounds how he practices at home. Once one gets used to using leaps and delayed resolution, adding non-diatonic notes will result in interesting melodic ideas All chromatic notes are used here, and none of the examples use complex scales such as altered scales or diminished scales. These 10-minute exercises provide a melodic framework for improvisation that remains harmonically suggestive and harmonically balanced. Because of their strong gravitational pull toward the underlying key, they can serve as possible alternative ideas for improvisation on a dominant-tonic or subdominant-dominant-tonic progression. Incorporating these skills at an early stage of musical development helps to cultivate the harmonic ear and prehearing skills which are key components of musical improvisation.

Background and Aims: Although the use of technology integration in music education in China has gradually increased, there is still a lack of empirical evidence on the use of educational technology, particularly digital tools, in auditory training. Traditional auditory training methods, such as manual practice guided by a piano or teachers, had some educational value; however, in large-scale classroom settings, they were frequently hampered by individual differences, time constraints, and insufficient teaching resources, making it difficult to meet students' individualized learning needs, particularly in key areas such as pitch recognition, rhythm perception, and timbre discrimination. As a result, understanding how to use modern educational technology to improve the effectiveness of auditory training and close this gap was critical for practical purposes. Against this backdrop, this study innovatively integrated Earmaster, a digital tool specifically designed for music education, into auditory training courses at Chinese universities, to investigate its effectiveness in improving students' auditory skills. By providing personalized practice plans and instant feedback, Earmaster effectively addressed issues in traditional teaching methods caused by resource constraints or individual differences. This study used constructivist learning theory to discuss how to use Earmaster to help students improve their pitch recognition, rhythm perception, and timbre discrimination skills. This not only improved empirical research on technology in music education but also provided theoretical foundations and practical references for future educational technology applications. Materials and Methods: This study adopts a quasi-experimental approach. The researchers selected a total of 67 first-year music students from a university in Fujian. After classifying the students according to the school's class capacity, they were divided into Music Class 1 (34 students) and Music Class 2 (33 students). Class 1 served as the control group, while Class 2 was the experimental group. The entire experiment lasted 10 weeks, with two classes per week, each lasting 90 minutes. In the first week, students were introduced to the experiment, the teaching methods, and the content. All 67 students took a pre-test to assess their actual musical abilities. Starting from the second week, the two groups underwent 8 weeks of training with the same teaching content. Music Class 1 followed traditional teaching methods, while Music Class 2 received instruction using the Earmaster software. Classroom exercises and homework were also conducted using Earmaster. In the tenth week, a post-test was conducted. The researchers compiled and analyzed the process data and post-test results, comparing the changes between the pre-test and post-test. Results: This study integrated the digital tool Earmaster into auditory training courses at Chinese universities and demonstrated its efficacy in improving students' auditory skills. The findings revealed that after a structured intervention with Earmaster, students' performance in pitch recognition, rhythm perception, and timbre discrimination improved significantly. Earmaster addressed the issues caused by resource limitations and individual differences in large-scale classroom settings more effectively than traditional auditory training methods, using personalized exercises and instant feedback. This study not only addressed an empirical gap in the use of educational technology in auditory training, but it also provided theoretical foundations and practical references for the future use of digital tools in music education. Conclusion: This study found that the digital tool Earmaster significantly improved students' auditory skills compared to traditional methods. It provided both empirical evidence and practical insights into the future use of digital tools in music education.

ABSTRACT The development of auditory perception and memory in musicians should be based on an individualized approach, which can be facilitated through the use of digital technologies. This study aims to examine the role of digital technologies in solfeggio and pedagogy for training auditory skills and memory. The authors proposed using applications such as Solfeggio Trainer, Vocal Pitch Monitor, and Riffusion for solfeggio lessons. For developing musical hearing, the work focused on intonation, musical intervals, and the auditory perception of distinctive elements of vocal compositions. Training musical memory involved repeating musical pieces at intervals of several days, studying the semantic features of melodies, and developing emotional memory. The evaluation of the quality of education was conducted using Kirkpatrick's model. It was found that respondents from both groups assessed the positive impact of the learning process on the development of vocal skills. The results of the study indicated progress in the learning of respondents from groups No. 1 (with minimal vocal skills) and No. 2 (with no vocal skills). These skills enabled students from both groups to develop abilities in identifying recurring phrases (89%), recognizing compositions through phrases (87%), recognizing compositions by sounds (85%), and perceiving repeated sounds (84%). The practical significance of this work lies in the practical adaptation of digital technologies for conducting solfeggio lessons.

The article analyses the verbal strategies of Louis Aragon, an active participant of the Resistance movement, who made a significant contribution to the liberation of France and contributed to the approach of peace, in his essay “Rhyme in 1940”, which is an example of the close relationship between poetic and political attitudes. The transformation of Aragon’s versioning and stylistics after 1927 is analysed (cultural transfer factors in contact with Russian and Soviet poetry: joining the Communist Party, marriage to Elsa Triolet, ‘ear training’ by listening to accen tual-syllabic poetry). The controversy surrounding the use of rhyme in Aragon’s poems has not been covered in our country. The article presents the arguments of Aragon’s opponents (G. Ribemont-Dessaignes, B. Peret). The poetics of Louis Ara gon’s essay “Rhyme in 1940”, included as a preface in his poetry collection Knife in the Heart (Crève-cœur, 1941), which was a response to critical rhetoric, is for the first time comprehensively examined in connection with the historical and artistic con text. The article analyses Aragon’s ways of arguing for the use of rhyme and expand ing rhyme strategies, drawing on quotations from Mallarmé, Verlaine, Apollinaire, songs, and examples from his own poems. Aragon uses different types of circumlo cution, which helped to avoid censorship: metaphors and allusions (discourse of contraband influence). Seeing the unity of the literary process as inextricably linked to the political context, Aragon elevates broken rhyme to the enjambement used by Hugo in his drama Hernani directed against royal arbitrariness. Aragon, speaking of rhyme, uses metaphors related to health (illness, healing), presenting rhyme as a kind of living. The return to the mnemotechniques (national system of versification), with the expansion of the possibilities of rhyme, ensured that texts quickly entered the collective memory when poems were passed from mouth to mouth at a time when print publications were difficult. Aragon’s work is well studied in our country, but the essay on rhyme has not been translated because the abundance of poetic quota tions and the argumentation associated with the specificity of their sound organisa tion makes translation difficult.

Technical ear training programs generally focus on engaging learners in tasks to increase their sensitivity to various auditory attributes. However, very little work has been done on integrating ear training into a multitrack environment where contextual factors dictate the employment and configuration of audio processing tools for mixing engineers. For novice audio engineers, transference of critical listening skills to multitrack scenarios within a conventional digital audio workstation may prove challenging without guidance from an experienced engineer. This report describes the design and development of ReFlow, a novel reverberation training prototype that embeds technical ear training within a dedicated multitrack environment to facilitate bespoke matching tasks based on expert performance. Expert performance is communicated to the end user via traditional and cognitive apprenticeship methods in which learners recall parameter configurations in the context of a multitrack mix while engaging with underlying conceptual knowledge provided by the modeled engineer.

Background and Aim: For coordination and singing abilities, students should practice with children's books, connect sight and feel to piano pitches, use simple accompaniments, and receive feedback. This article explores the role of singing in piano teaching, discussing strategies for improvement, textbook selection, classroom fun, parent communication, sight singing, ear training, and enriching children's music lives. Methodology: This paper is a documentary study that combines descriptive content analysis with goals-oriented thinking. Results: The issues with pitch, coordination, song familiarity, and self-assurance. Solutions include helping students with basic vocalizations, focusing on correct breathing techniques, using children's piano books, and providing motivation and constructive criticism. Sustained instruction and practice can improve coordination and vocal capabilities. Pedagogical approaches should be refined, and tailored to students' age, gender, and individuality, and teachers should enhance their expertise and establish clear teaching objectives. Time allocation and textbook selection should be based on the course schedule, and novel pedagogical approaches like role exchange can enhance student engagement. Consistent communication with parents is crucial for children's piano skills development. Sight singing and ear training can develop children's ability to perceive and use music. Conclusion: The document review addresses issues with the role of singing in piano teaching, focusing on pitch, coordination, song familiarity, and self-assurance. Solutions include basic vocalizations, breathing techniques, using children's books, motivation, and teacher training.

There are several branches of linguistics, one of them is phonetics. Phonetics is one of the most important parts of linguistics in learning a language, especially in speaking skill. This article explores the significance of teaching phonetics and pronunciation in English language teaching (ELT). This article use literature review as the method of research. This research delves into the reasons why these aspects are crucial for effective communication and language acquisition. The article provides insights into the most effective methods and strategies for teaching these skills, including drill method, audio lingual method (ALM) and realia. Moreover, phonetic training; reading aloud; listening and repeating; rhymes and verses; rules and instructions; awareness-raising activities; spelling and dictation and ear training also can be used in teaching phonetics and pronunciation.Ultimately, the article aims to highlight the importance of incorporating phonetics and pronunciation instruction into ELT programs to ensure that learners develop accurate and fluent speaking skills.

Artificial intelligence (AI) is a hot topic that presents new challenges and opportunities for the improvement of educational processes. The disruptive and transformative force of this new technological development implies the adaptation of educational ecosystems for its use and integration as a didactic and pedagogical resource. From this perspective, a systematic literature review has been conducted to analyze the didactic potential of generative AI tools in the field of promoting artistic creativity in music education. The research results confirm that the incorporation of AI in music education is paving the way for a more personalized, interactive and efficient learning experience. In addition, the analysis suggests nine fundamental fields of IA implementation in music education: virtual and augmented reality (VR; VA); learning personalization, intelligent tutoring systems; composition assistants; improved historical and contextual learning; assessment systems; interactive ear training and music theory systems; tools for music collaboration and performance; and assistive technologies. Furthermore, the challenges presented by the intersection of AI and digital didactics in the field of music education are discussed.

Instrumental performance is a process of matching the brain and body, especially when facing the piano. Beginners may encounter various problems during the piano learning period, such as memorizing scores, posture, sight singing and ear training. Incorrect playing posture often lays many hidden dangers, ranging from affecting the sound of the instrument to causing serious joint damage and interrupting the playing career. The "Alexander Technique" is a discipline that combines medical human body knowledge to help us understand the direction and working principle of body muscles, so as to correct incorrect playing posture and make the player's career go further and broader This paper will be based on the practical application of the "Alexander technique" in piano teaching, explaining the benefits this technique brings to piano learners

Purpose: This research aims to determine the effectiveness of using the Dalcroze eurhythmics method in violin teaching. Several cases indicate that many students have difficulty understanding the material in violin courses due to the ineffective teaching methods used by lecturers during the learning process. Method: This research employs a qualitative approach with a descriptive method, which intends to create descriptions of situations or events. Based on data sources, this type of research falls into the category of field research. Results and Discussion: The results and discussion indicate that the Dalcroze method proposed by Jacques Dalcroze requires good musical skills from the educator. Additionally, educators are required to be active and creative in delivering music lessons. As instructors, educators should not only introduce various musical instruments that can be used to play popular songs. Conclusion: Educators should be able to train students in solfeggio to enhance their auditory sensitivity through ear training, thus becoming skilled in reading notes, sight reading, and understanding the upward and downward movements and the length and shortness of each notation beat.

This review investigates the crucial impact of working memory training on improving musical dictation abilities in music students. Ear training, a fundamental aspect of solfeggio courses in higher education, forms the basis for a wide array of musical competencies. The review presents a comprehensive synthesis of the definitions, theoretical frameworks, and empirical findings pertaining to working memory, with a particular focus on its influential role in music education. Central to this review is the multi-component model of working memory, which is examined in detail across its various developments and practical applications within cognitive psychology. The review thoroughly analyzes how working memory intersects with music dictation, emphasizing the critical role of memory in both understanding and performing music. It explores the physiological and cognitive aspects of musical memory, highlighting its importance in the development of auditory skills. Additionally, the article reviews various methodologies employed in working memory training, such as the n-back task, assessing their effectiveness in enhancing cognitive abilities relevant to music education. It delves into the concept of transfer effects in working memory training, differentiating between 'near transfer' and 'far transfer', and discusses their significance in the context of music education, particularly in tasks like rhythmic dictation. In summary, this review offers an in-depth exploration of the connection between working memory training and its practical implications in music dictation. It elucidates the transformative impact that cognitive training techniques can have in advancing music dictation skills, thereby making a substantial contribution to pedagogical strategies in the realm of music education.

This research is based on the low singing ability of students who participate in extracurricular polyphonic choir activities. Therefore, it is hoped that the application of ear training as a teaching method can help improve students' singing abilities in choir. The problem posed in this study is whether using ear training can enhance students' singing abilities in the choir extracurricular at MTsN 3 Kota Padang. This study aims to understand, describe, and analyze the improvement in singing ability in extracurricular choir activities through the application of ear training for students at MTsN 3 Kota Padang. This research uses Classroom Action Research (CAR) which consists of two cycles. Each cycle includes planning, action, observation, and reflection phases. Data collection techniques are carried out through observation, interviews, documentation, and assessment. It showed that the ear training method successfully improved students' singing skills in choir extracurricular activities. Students' behavior also shows a positive change from being previously less enthusiastic, unmotivated, and passive to becoming more enthusiastic, excited, and active during the learning process using ear training.

The article presents the issue of remote teaching in art schools (music and ballet) during the COVID-19 pandemic from the biographical perspective of students, their parents and teachers of the main instrument. The cited stories focus on the unexpected difficulties they faced after the introduction of online education. Subjects closely related to artistic development (such as main instrument lessons, orchestra, choir, ear training, chamber ensembles – in music schools, or classical dance lessons – in the case of ballet schools) have caused many organisational and technical problems. Their effectiveness, in many cases, is unable to meet the needs of either students or teachers, leaving behind a feeling of meaninglessness, grief of loss, and, in borderline situations, physical harm.The article presents the results of pilot research (2022–2023) conducted as part of biographical research among teachers, parents and students of music and ballet schools. In-depth narrative interviews (and excerpts from them included in the text) paint a picture of the complicated everyday life of the pandemic, the strategies for coping with the encountered problems and the emotions associated with remote teaching of arts subjects in each studied group. The result of the pilot research is a record of the initial analysis and opens the research path for full-scale research planned for 2023–2024.The personal stories presented in the article have a dual purpose. On the one hand, they intend to outline their common experiences during the pandemic, outline the scale of the problem, and, as it were, confirm the validity of undertaking such a research topic. On the other hand, they invite readers to reflect on the reality of art schools that may be unknown to them.

With the rapid development of artificial intelligence, and people are not only seeking material needs, but also pursuing happiness and spiritual aspirations. Especially some singing talent shows appear, but there are many controversial results. In order to solve the problem of singing with note-name evaluation and evaluate the singer's singing level in the professional music education of solfeggio and ear training, the paper uses artificial intelligence algorithms to recognize the note-name. Firstly, preprocess the singing sound data, including pre emphasis, framing, and windowing to reduce the impact of noise, and extract the acoustic features of the singing sound, the acoustic speech features are organized into a form suitable for DCNN input and a DCNN model is designed to obtain the pinyin form of the singing sound, the softmax layer adopts an end-to-end CTC structure, which classifies the input singing speech, finds corresponding phoneme sequences, and obtains the output results. The end-to-end CTC structure is used to classify and optimize the recognition process, and finally the state of the obtained features is output. And then singing pronunciation dictionary generates candidate word sequences based on the mapping relationship between phonemes and notes. Finally, based on the acoustic model score, the candidate note sequence with the highest score is obtained through decoder processing, and obtained the singing with note-name result of the singing sound. In order to further improve recognition performance, the paper introduces a new CTC-DCNN acoustic model. In this model, residual blocks can transfer input features to the output part through shortcuts, allowing the multi-layer convolutional speech features to be preserved as much as possible. At the same time, the deep structure can also better achieve the extraction and analysis of speech features. A new and improved CTC-DCNN acoustic model is obtained by optimizing the maxout function. The algorithm proposed in this paper is fair and equal in obtaining information, and no one participates in the entire process of obtaining scores. It is believed that the scoring results obtained in this way should be more objective.

The university music education teaching system plays a vital role in nurturing aspiring musicians and music enthusiasts by providing a comprehensive framework for musical learning and development. This system typically encompasses a diverse range of courses, workshops, and performance opportunities designed to cultivate students' musical talents, theoretical knowledge, and practical skills. Through a combination of classroom instruction, ensemble rehearsals, private lessons, and hands-on experiences, students receive a well-rounded musical education that covers various genres, styles, and traditions. Moreover, university music education teaching systems often incorporate state-of-the-art facilities, including rehearsal rooms, recording studios, and performance venues, to support students' artistic growth and creative expression. This paper presents an innovative approach to the intelligent construction of university music education teaching systems, leveraging artificial intelligence (AI) technology with Intelligent Fuzzy Regression Classification (IFRC). Recognizing the complexity and diversity of music education, this research aims to optimize teaching methodologies and enhance learning outcomes through AI-driven strategies. The proposed approach integrates AI technology, particularly IFRC, into the design and implementation of university music education teaching systems. IFRC combines fuzzy logic with regression analysis and classification techniques to model and predict complex relationships within music education datasets, enabling the system to adapt and respond dynamically to student needs and preferences. The IFRC-enhanced teaching system can generate personalized learning pathways, recommend tailored resources, and provide real-time feedback to students and instructors alike. This intelligent adaptation to individual learning styles and progress fosters a more engaging, effective, and inclusive music education environment. The IFRC-enhanced teaching system achieves an average improvement of 25% in student performance compared to traditional teaching methods. Moreover, specific musical skills, such as sight-reading, ear training, and music theory comprehension, exhibit notable enhancements, with average score increases of 30%, 20%, and 35%, respectively.