Karst DE JONG
Department of Contextual Studies, Yong Siew Toh (YST) Conservatory of Music
De Jong, K. (2023). Aural skills and improvisation: The development of an online teaching and learning guide [Paper presentation]. In Higher Education Campus Conference (HECC) 2023, 7 December, National University of Singapore. https://blog.nus.edu.sg/hecc2023proceedings/aural-skills-and-improvisation-the-development-of-an-online-teaching-and-learning-guide/
SUB-THEME
Others
KEYWORDS
Music, aural skills, improvisation, online learning, online teaching
CATEGORY
Paper Presentation
ABSTRACT
In the light of the theme “Navigating Uncharted Frontiers”, I would like to propose a paper presentation discussing a few cutting-edge innovations in the teaching of aural skills for students in Higher Music Education (HME), as they are currently being implemented at the NUS Yong Siew Toh (YST) Conservatory of Music. Central to these innovations are the use of improvisation as a learning catalyst, a new simplified system of hand-signs, and the development of an online teaching and learning guide to change the dynamic and organisation of the teaching and learning process.
PEDAGOGICAL CONSIDERATIONS
A new simplified set of hand signs is proposed to add to an ongoing discussion about representation of musical notes and their connection to aural imagination of tonal melodies and harmonies (Lam, 2021).
As there is very little existing material online about aural skills teaching materials specifically targeted at the high level required for conservatory students, we decided to start a joint project with the Royal Conservatoire of Den Haag to generate video materials and explore the best ways of integrating these in the teaching and learning process. The project focusses on collaborative learning with students playing their instruments in the classroom. Inspiration is taken from a subject which was developed by the theory department of the Royal Conservatoire of Den Haag: Aural Skills and Improvisation (ASI). At the basis is the realisation that teaching music theory to conservatory students would have little effect if it does not manage to make a convincing connection to the repertoire and the aural experience. Furthermore, improvisation, even on a very basic level, can greatly enhance the understanding of the inner workings of music, as well as being a highly effective catalyst for both internalising pitch relations in tonal music and creating an immediate connection with the instrument or voice. Thus, the methodology of the aural skills and improvisation lessons is directed toward achieving an active inner aural imagination, and an immediate application of this imagination in performance, along with the development of agility, creativity, originality, and a strong sense of tonality.
Just like when learning to speak a language, there is the need to have an active command of the musical language, as well as collaborative skills of communicating in that language. This goes hand in hand with the development of musical vocabulary as well as a rigorous acquaintance with scales, harmony and the idiomatic use of musical materials.
A TEACHING AND LEARNING GUIDE
At the heart of the online guide is a series of teaching and learning videos, organised in collections. They cover four key areas: materials and vocabulary, interplay, repertoire-connection, and improvisation. These areas complement and reinforce each other to ensure a complete aural development. During practice, there should be a continuous feedback loop of playing, listening and correcting oneself. The intimate knowledge of materials makes fast execution of those same materials much easier, and creates a higher level of knowledge, which is less cerebral and more connected to bodily knowledge and practice. In turn, this knowledge fortifies the aural imagination. One can speak here of internalisation of musical materials. Improvisation is the catalyst for learning, and the ultimate measure for mastery of aural skills and the creation of musical ideas.
During the paper presentation, I will show some examples from the videos and explain how we intend to use them, effectively creating a blended learning environment. I will also discuss where our pedagogical insights and goals differ from established views in the field, and which considerations we have in shaping this part of the curriculum at YST.
REFERENCES
Sarath, E. (2010). Music theory through improvisation. Routledge.
De Jong, K. (n.d.). Aural skills and improvisation: a teaching and learning guide. Research Catalogue. https://www.researchcatalogue.net/view/1882701/1882704
Lam, N. L., Finding common ground in the Do-/La-Minor solfège debate. In Cleland, K. D., & Fleet, P. (2021). The Routledge Companion to Aural Skills Pedagogy (pp. 389-401). Routledge.