This is a book I have recently added to my collection in my recent Trinity College exam book buy up! If there are other books out there that you would recommend, please leave a comment and I will investigate and add that to my review panel! So without further ado, here are the books currently on my studio shelf: Trinity College London Aural Book 1: Please keep in mind that there are so many things you can do with students to develop their aural skills in those early years that go beyond the technical testing style offered in these books.
This list is by no means exhaustive, it is a collection of books on the market for aural training, test and exercises for students beyond the beginner (primer) stages. Is there something we should be looking at that isn’t mainstream? What is the best thing on the market? Are there things students can use at home? I wanted to discover what was good, useful and helpful in the development of students’ aural skills. So here today is the beginning of the series, specific print books and resources out there for piano teachers to use in lessons. My reading has led me to devise something of a series on Aural Development: Print Resources, Tech Resources, Resources for Early Development and finally, Auditory Processing: Information for Music Teachers. It is so vast that I am really just covering the tip of the iceberg currently and would like to further research some paths before I draw any conclusions worth sharing. It is a very broad topic when looking at auditory processing, how it works, what dysfunctions can be present and how we utilise different techniques in order to benefit our students’ musical education. I am still reading through much of the research. I want to learn more and gain more understanding to be a better teacher. Medical journals, text books, auditory processing diagnosis and management specialists and parents with children with auditory processing issues. Why? What happens after the first bar of music that they can’t remember the rest? How can I assist them to increase their aural memory and attention span? What is it specifically that is causing this issue? Rhythmic clapping is mostly ok, as long as it isn’t too long, but adding the melody to remember seems to short out their fuse. In particular this stems from a couple of students who struggle to remember simple short phrases (think 2 bars of 4/4) to sing back. Singing and aural development has always been a part of my teaching but I feel the need to do some further research and find some more tools to work with some specific students. Our in-person composition courses for adults are taught in New York City at The Juilliard School’s Lincoln Center campus.Recently I have been considering the ways I develop aural skills with my students and other alternatives that may be available.
In nearly all courses, students hear their works performed by Juilliard College Division musicians. Our adult classes in composition are designed for both introductory students with minimal experience and students with established skills who wish to expand their knowledge and strengthen their work. Juilliard Extension’s in-person and online classes in composition cover the broad range of essential compositional skills and techniques. The most proficient composers must have the skills to effectively carry out their creative impulses, including knowledge of music theory, an understanding of the various instruments and their capabilities, a solid grasp of compositional principles and techniques, and familiarity with music notation software. Writing and arranging music can be an exciting and rewarding enterprise. High School Music Theory and Ear Trainingįrequently Asked Questions About Juilliard Pre-College About the Artist Diploma in Opera StudiesĬenter for Innovation in the Arts Courses