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Over three semesters, students practiced the author’s A cappella Ear Training (AET) method, using participant observation and interviews to assess how harmony-based singing supports internalizing theoretical material, improving recognition in performance and practice.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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Ear Training (AET) method address?","Question",{"text":63,"@type":64},"It positions AET as a rejection of the ear-or-eye dualism in music learning, arguing that theoretical concepts should be reinforced aurally through singing rather than treated as separate components.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How was the impact of AET evaluated in the study?",{"text":68,"@type":64},"The study used a qualitative approach with participant observation, field notes from class sessions, and follow-up interviews to understand students’ perceptions of the method.",{"name":70,"@type":61,"acceptedAnswer":71},"What does the literature review use as a key foundation for ear training?",{"text":72,"@type":64},"It explains audiation as the ability to understand sounds within a musical framework, and it links effective learning to forming and holding an “aural image,” supported by singing and voice-based 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c  \nm  \ne d u c a t i o n  \ne  \ni n c o r p o r a t e d  \ntheory and aural skills together via singing in a jazz program environment  \nHelen Russell  \nUniversity of Southern Queensland  \nAbstract  \nAs jazz study has become an established branch of the tertiary music landscape, disquiet has arisen in some quarters about the “mechanical” way in which improvisation is taught. This study examined the ways in which singing in ana cappella harmony group affected the improvisational abilities of tertiary level jazz students. Over three semesters, students participated in a method developed by the author known as “A cappella Ear Training”(AET). AET was used to test the author’s assumption that learning to sing in harmony with other voices and without recourse to the mechanics of any instrument would improve the ability of the students to internalize the theoretical information with which they were being presented in all areas of the course. The research used a qualitative approach, and drew on data generated through participant-observation and interview techniques. Students were observed throughout the course, with the author making field notes on the practice of the class session. Further interviews with some participants were conducted to ascertain the students’ perception of the AET approach. Analysis of the data confirmed that AET enabled the development of a theoretically informed practice whereby the participating students came to recognize concepts in practice and performance.  \nKeywords: A cappella, ear training, harmony, improvisation, jazz, musicianship, theory.  \nBackground  \nAs an instrumentalist I have always mediated between the notes on the page and my instrument by singing. In a very direct operational way, I have always found it difficult to play any tricky passage on the instrument without being able to sing it first. Of course, singing is the manifestation of what one hears; the aural image is important for the eventual production of the music.  \nThe musical community and even the community at large seems to hold a perception that one either plays by ear or doesn’t; either reads music or doesn’t. In practice, this issue is far more nuanced. Nolet (2007) articulates this view: “When music literacy and orality are perceived not as a dualism but rather, as a dialectic, both musical literacy skills and orality skills are strengthened, for the purpose of enhancing the overall musicianship of the learner”(p. 33).  \nThis paper seeks to position the A cappella Ear Training (AET) method as a rejection of the dualism of ear or eye, and suggests that the two are mutually supportive. When applied to jazz instruction and learning specifically, the function of AET to reinforce theoretical concepts aurally provides a powerful mechanism for learning and performing jazz.  \nIn the popular imagination, jazz musicians are often perceived to be musically uneducated in the formal sense, playing “what they feel”. This is of course an un-helpful simplification. Prouty (2006) points out that the jazz masters were not always as theoretically uneducated as people like to believe, and that the tradition has been handed down using various types of one-to-one instruction, listening, and notated methods, or a combination of these—“(Charles) Mingus, in fact, was known for regularly teaching his band members their parts by singing  \n20 51(2)  \nthem, while at other times he relied on notated scores”(p. 5).  \nTheAET method came about in response to what I saw as shortcomings in the way music is generally taught. Theory and ear training are seldom presented in an integrated way so that students see that they are facets of the same thing. This phenomenon is by no means limited to the jazz education field. It also appears that ear training itself is falling victim to rationalization in all kinds of music education. As something that is quite labourintensive t","cbCainJDEF5VNZUt","https://ap.wps.com/l/cbCainJDEF5VNZUt","pdf",120109,"English","# Abstract\n# Background\n# Literature review","[{\"question\":\"What problem does the A cappella Ear Training (AET) method address?\",\"answer\":\"It positions AET as a rejection of the ear-or-eye dualism in music learning, arguing that theoretical concepts should be reinforced aurally through singing rather than treated as separate components.\"},{\"question\":\"How was the impact of AET evaluated in the study?\",\"answer\":\"The study used a qualitative approach with participant observation, field notes from class sessions, and follow-up interviews to understand students’ perceptions of the method.\"},{\"question\":\"What does the literature review use as a key foundation for ear training?\",\"answer\":\"It explains audiation as the ability to understand sounds within a musical framework, and it links effective learning to forming and holding an “aural image,” supported by singing and voice-based methods.\"}]","A cappella Ear Training (AET) - A jazz ear training method using singing | PDF",1792078242,23]