Rogers, pp. 138-149: Twentieth-Century Ear Training, Rhythm, and Broader Ear-Training Approaches
Twentieth-Century Ear Training:
- Rogers outlines two approaches to hearing/singing/understanding post-tonal and quasi-tonal music. What are they? Do you prefer one over another? Why?
- What are your thoughts on conducting while sight singing? Is there another (maybe better) way to ensure that a student is articulating the beat as (s)he performs?
- In point #4, Rogers enthusiastically advocates subdivision. In his point #5, he talks about an approach closer to Professor Johnston's "Rhythm Blocks" (i.e., memorize and recall short rhythmic patterns). Do you think that these two points are in conflict? Or can rhythm blocks and subdivision work together? If so, how?
Broader Ear Training Approaches:
- What creative activities can you add to Rogers' list of 10 on p. 148? For any activity that you list, also describe the skill being developed and/or the real-world application.
The first 20th-century Ear Training approach Rogers introduces is the framework approach. This is where a serious of recurring reference points and imaginary frames make up the harmonic framework. Intervals, tetrachords, traditional scales, synthetic scales and trichords can be used as these patterns/frames.
ReplyDeleteThe second approach is using imaginary diatonic reference points and the subsequent notes are seen as chromatic “distortions” of a tonic key. One of the pedagogical hallmarks of this approach is a natural progression of scales to Greek/church modes and then a lead into harmonies further away from out tonality trained ears. This is the approach used in my personal undergraduate experience and I feel that it makes complete logical sense despite not making chronological sense. As I have said before, I am a firm believer that you start students with what they already know and lead them to where you want them to be. This progression slowly eases students out of tonality through a “middle-man” in the modes which then bridges into further exotic ideas like whole tone and serialism.
In terms of conducting with the beat, I am a believer in internalization of pulse. Whether through conducting, tapping or eurhythmic movements, this is a vitally important part of developing rhythmic and metric accuracy in musical study.
As someone who learned with rhythm blocks, I believe that a blend of the blocks and subdividing is best. For example, focus on subdivision WHILE PRACTICING THE BLOCKS is important for mastery. Once subdivision is mastered in all of the patterns, learning and rhythmic accuracy increases exponentially and students will be able to recognize all possible rhythms with great accuracy and efficiency.
Some creative activities I can think of include:
• Using popular/simple music that students are extremely familiar with and then comparing/contrasting them to classical compositions
• Work on hearing overtones by holding the sustain pedal on a piano and then playing one note and hearing the overtones resonate. This is especially useful for brass players
• Fun short singing exercises like we have done in class. They are fun and have students engaged and focused on singing the proper solfege
Thanks Nick. Not to toot my horn or anything, I have an article in the JMTP about this very thing--using mode "distortion" as a gateway to post-tonal music. It's in Volume 24 (2010) and it uses Stravinsky's "Spring Rounds" as a model composition.
DeleteIn regards to the subdivision and rhythm blocking methods, I believe that when collaborated in the right way that the two can work side by side to reach a level of mastery when performing rhythms in context.
ReplyDeleteAlthough the rhythm blocking presentation was very intriguing and provided me with another perspective on counting rhythms, I still think that a system in which basic subdivision tools are used as a foundation to counting rhythms is most helpful. It could be that I am biased with subdivision because it is the way that I was taught in order to get through rhythm, but either way I still believe that a system of subdivision should be instilled in students FIRST, then the rhythm blocking should come shortly after it. I feel as though subdivision provides the basic building blocks that rhythms consist of, while rhythmic blocking provides more broad perspective for counting rhythms (big picture). The student would not just know memorize patterns, but actually what that pattern consist of and ultimately why it is what it is.
Its fascinating to think about how much of learning is just straight-up memorization. Trippy.
SS: "Its fascinating to think about how much of learning is just straight-up memorization. Trippy."
DeleteJR: Well, Yes. It is. And I think in recent years (probably since you'all have been ALIVE :-) the whole idea of "rote" memorization has gotten a bad rap. As I've always said...memorization ain't sexy. But for many things--especially music, it's the way you have to learn. No shortcuts.
Rogers outlines the two different approaches: a “framework” approach, which is just outlining a set of recurring reference points and “imaginary diatonic reference pitches,” which pretty much just takes something we already know as being right and making it wrong. He says that the one approach simply follows the switch between functional tonality to atonal and the other is just starting them with a very simple chromatic piece with few “wrong” notes and once introduced, just increasingly gets more chromatic. I prefer the imaginary diatonic reference pitches because it is easy for me to hear the “wrong” in what is supposed to be “right.” I've always enjoyed hearing chromatic pitches and when I do hear them, they make me chuckle and stick to my ears quite well. I agree with Nick and easing a students way into tonality with what they already know, like maybe a church hymn and using that as a “middle-man.”
ReplyDeleteWhen it comes to conducting while sight-singing, I don't know how many times I am looking up while reading something for the first time, but it is nice to have a reference point to refer to to make sure you are in the right spot. I think in order for any sort of ensemble to stay together, someone needs to be a leader, whether if it's a teacher or a student, I think there needs to be someone to help keep things steady. Even if the students put emphasis on the first beat of each measure, just a check in point. I would think that this could be treated as any other rehearsal in terms of staying together. And I think a metronome would make it too easy for students.
I am not sure what rhythm blocks are and I was unaware of the importance of subdivision in my rhythm until I got to college. I am an advocate for subdivision, but only because I don't know any other way.
As a creative activity, I had the same idea as Nick and would play very familiar tunes. Popular music steals a lot from the past, so maybe find the melody in original context and ask the student to identify what popular tune it is. I'm not sure?!
NA: When it comes to conducting while sight-singing, I don't know how many times I am looking up while reading something for the first time, but it is nice to have a reference point to refer to to make sure you are in the right spot.
DeleteJR: Actually, Rogers is referring to YOU conducting yourself as YOU sight sing. (To force you to internalize the pulse.)
I think an important question to ask in regards to the framework the author mentions is "What is the goal of the utilization of a framework either identical or similar that the author talks about?" More importantly however, I believe is the question “What does it mean to truly master a skill?”
ReplyDeleteWhen I think about the "framework" approach to learning how to sight sing with ease (specifically oriented towards those inherent challenges of 20th century atonal music), the list provided is essentially a list of the vast possiblities of phenomena that one could encounter. With this said, this list is synonymous to the reinforcing of playing scales in Western tonal music. Our professors stress the importance of learning scales and practicing scales every day, and for a good reason: The fact of the matter is that when we practice scales we are reinforcing skills towards mastery, as all western music is comprised of scales. We then are able to employ (if mastered) on a subconscious level the skills we have reinforced through practice.
Another example of this concept is performing on an instrument. We as musicians and students practice fundamentals every day, improving our technique through different exercises we receive from our professors. This is important because in the context of a live performance we build a set of reflexes or subconscious skills to help aid our performance when unexpected situations arise. We are not consciously thinking about what we are doing as we play each musical phrase, but rather subconsciously carrying out tasks we have reinforced through repetition.
So, this means that you support the post-tonal framework approach? THat is, memorizing whole tone, octatonic scales, quartal harmonies etc.?
DeleteI believe that conducting is a very good way to signal beats to the students and is easy for them to follow if they are watching. The thing is, the students have to WATCH the teacher conduct and be able to follow it even when they are focusing on singing the right notes and rhythms in a sight singing melody. Personally, I remember when teachers would do this and it was difficult to follow them and sing the melodies at the same time. There are some strategies that teachers can use to make sure that the students are singing with the pulse of the music and be able to focus on their melody. One idea is that you can have the students tap their feet while the teacher conducts to make sure that they are together and to help them visually see the beat in case they were to get lost. The problem is that if the students start to rush or slow down, the teacher would have to find a way to get the students back on track and find a way to create an audible beat for the students. Another idea is that you can use a medium low volume metronome and conduct the students while they sing. The met would have to be at a specific level so not to overpower the students, but also make sure they can hear it. Another idea is you can have the students clap and sing at the same time. You could have the same problems as the foot tapping with this idea, but also that they would have to have alternative ways to read the music, whether it would be projected on the board, written on the board, or put on stands in front of them. Lastly, the teacher could clap, snap, or tap the beat while the students sing. This would make sure that the students kept up with the teacher and the teacher can get louder if needing the students to get back on pace. With these ideas, it would be easy for the students to keep the pulse while singing. Personally, I have experienced teachers conducting and snapping or clapping while the students are singing. The snapping and clapping was the best way to make sure we were all keeping pace with each other while singing the melodies by having us hear it instead of us being able to focus on singing and pulsing at the same time.
ReplyDeleteAs I said to Nicole, what Rogers suggests here is that the STUDENT conducts him/herself while singing. I actually think this is superior to foot-tapping since it clearly indicates what beat you're on at any given time. The only reason I don't make my students conduct is because I almost always want them to hand-sign.
DeleteMany of us, I’m sure, have been taught different approaches to ensure an articulated beat while sight-singing. I know of many fellow students and colleagues who find that conducting while sight-singing is their go-to method for keeping the beat steady and secure. Others use a variation of gentle tapping, whether it’s on their knee, thigh, or chest, or with their feet. Some clap the rhythms while they sing.
ReplyDeleteMy preferred approach would be tapping my foot. And I would say that “feeling” the rhythm of a song is how my body would immediately react. Perhaps this is from having a background in marching band where your feet are in-step with the beat all the time. It’s quite similar to dancing when your right foot generally leads on strong beats. I know that during my time as an instrumentalist, clapping and counting was a huge part of learning a new piece and that translated to my previous theory courses when we did rhythmic or melodic dictation.
I personally find conducting and singing to be a “one or the other” kind of task. (My mind just can’t do them both at the same time.) That is not to say that it is not a good tool to use. Internalizing a beat is very important, but I think how you arrive at that internalization is based upon what the individual finds most comfortable.
Have you ever tried finger-counting? Basically, you hold up 1, 2, 3, 4, fingers as the beats pass. I think it comes more naturally to most people than conducting does, and still allows you to keep track of which beat you're on.
DeleteBetween the two approaches Rogers outlines regarding twentieth-century ear training, I agree with both Nick and Nicole and think “imaginary diatonic reference points” intermixed with “distorted notes” is a much simpler explanation/approach (pedagogically speaking). Similar to how I attempted to introduce intervals for our teaching project, building new information on top of what students already know is less intimidating and more accessible. It’s not something entirely new, it’s just an attempt at expanding prior knowledge.
ReplyDeleteI do like the idea of conducting while sight-singing, but mostly I just like the idea of a student demonstrating pulse while (s)he is performing in general. Tapping feet, clapping hands or patting on legs are great ways to get your students to audibly hear pulse against the rhythms they’re singing. When you’re conducting, sound is not (usually) produced, which could lead to much discrepancy. Also, it’s very possible for conducting to end up being just another thing to get in the way…now students are thinking about pulse, pitches, rhythm and what their hand/baton is doing as opposed to just clapping hands or stomping feet. I think for younger students especially, it might just become more of a distraction than an effective learning tool.
Concerning Rogers thoughts on subdivision and his similar approach to Rhythm Blocks, I definitely agree with Shanyse. The more ways we have to think and conceive of things, the higher the level of mastery. Therefore, both methods that Rogers talks about can be extremely useful. To expand upon Shanyse’s comment a bit more, I think rhythm should be taught from higher numbers to lower numbers. That way, a frame of reference or a method of subdivision is naturally instilled in students. If they know sixteenth notes, and an appropriate method of counting them, eighth notes and other notes of lesser value should make much more sense. A quarter note can be so vague.
A few activities:
-Singing solfege with popular songs on the radio helped my ear a bunch…picking out just the bass line and singing along helped me better understand harmonically what was happening and created a better sense of pitch by helping me make that connection. As I became more comfortable with that, figuring out the melody line was always the next step and helped a ton. Of course this process of figuring out solfege on the spot also helped with dictation.
-Tuning timpani. If you can get your students access to timpani that are properly tuned, it really can be helpful. The overtones on timpani are interesting to work with and you really have to work on hearing the desired fundamental pitch. It made me much more aware of being “in-tune.”
MP: "When you’re conducting, sound is not (usually) produced, which could lead to much discrepancy." JR: Excellent point. I think that's why Dr. Downing had us count out loud during his presentation.
DeleteMP: I think rhythm should be taught from higher numbers to lower numbers. That way, a frame of reference or a method of subdivision is naturally instilled in students. If they know sixteenth notes, and an appropriate method of counting them, eighth notes and other notes of lesser value should make much more sense. A quarter note can be so vague.
DeleteJR: That's really interesting! I've never done it that way. Is that a popular method among perc. teachers? Just curious.
(I know this is late, but I wanted to post anyway since I love ear training)
ReplyDeleteI am one who sees context as an important factor in ear training, which makes atonal sight singing a difficult topic to tackle. Out-of-context intervals can be really hard for students to hear and perform, but approaching an atonal exercise with a tonal mindset can be dangerous as well. Rogers says we have been “tainted” by tonality (p142), and I think he is certainly correct to a degree. We are so used to hearing and singing tonal music in lessons, ensembles, popular music, that mastering atonal music is very difficult. Our brains are trained to think tonally, and it takes a lot of work to get out of that headspace. Realistically, though, I would approach an atonal exercise with solfege, because I have a lot of practice with reading and performing chromatic solfege. And although we used fixed-do in Modal Counterpoint last semester, I think I would still use movable-do for modal as well as atonal melodies.
I think conducting while sight singing is an awesome idea. At first, it can be really rough, as younger students aren’t used to conducting by itself, but it becomes a habit, it can be very helpful. Often, students ignore rhythm and time while sight-singing in a high-stress situation, but conducting can help them choose a reasonable tempo and stick with it. With foot- or pencil-tapping, students can easily lose their strong/weak beats and change tempos. Conducting is more of a physical dedication, if you will, to the music and the beat. It also forces the students to think of the whole measure, therefore not cutting a longer note short, as students often do. I think they key with any system, especially conducting, is to stick with it and force the students to use it in class and examination. Promote is as you do your singing or counting system, requiring each student to learn it and become comfortable.
As far as activities go, I’m sure I could think of a lot in discussion, but reading Roger’s list makes me think about finding notes in real life. I remember in 7th grade, the bell rang in band as we were playing, and I realized the bell was the same note as I was playing on my flute, but not quite in tune. It was a G, but sharp. Since then, I’ve always enjoyed figuring out the solfege to church bells, elevators, and other random sounds that one would hear in every day life. Promoting a lifetime of listening with students can be really helpful to fully developing their ear training skills.
MA: "I think I would still use movable-do for modal as well as atonal melodies. "
DeleteJR: Okay. But how? I mean, in an atonal melody, what would you designate as "do"?
In theory (hah!) I agree wholeheartedly with your thoughts on conducting. But I almost ALWAYS have my kids hand-sign as they sing. Were there more time, I might have them conduct as they do rhythm-only exercises.
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