procedee de dezv a auzului muzical

Tehnologii informatice i de comunicaie n domeniul muzical

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Procedee de dezvoltare a auzului muzical prin exerciii mediate de TIC /

Methods of Developing Musical Hearing through ICT-mediated Exercises

Nelida NEDELCU

Constantin RP Lucian GHIA

Departamentul de Educaie Continu i nvmnt la Distan, / Department of Distance Learning

Academia de Muzic Gheorghe Dima / Academy of Music Gheorghe DimaCluj-Napoca,

Cluj-Napoca, [email protected]

[email protected] [email protected]

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REZUMAT n interesul prezentrii introducerii mijloacelor TIC n

procesul didactic al formrii i dezvoltrii auzului

muzical specializat cultura auzului necesitate fundamental pentru orice muzician, s-a elaborat lucrarea de fa, care reprezint o experien ale crei

rezultate sunt o garanie pentru continuarea implicrii

acestor mijloace n didactica muzical. Exerciiile

prezentate n articol, folosite n programele de studii,

alturi de materiale didactice pe suport scris syllabus-uri materiale media casete, CD-uri precum i apariiile pe platforma electronic www.amgd.ro/did sunt o dovad a condiiilor succesului instructiv.

Cuvinte cheie

auz muzical, educaie auditiv, TIC, software, syllabus

1. INTRODUCERE CONCEPTUL DE AUZ MUZICAL Auzul muzical reprezint capacitatea senzorial, emoional i raional de considerare a fenomenului sonor, condiionat social i istoric.[1] Aceeai surs citat explic cele trei niveluri de receptare: auzul senzorial se refer la capacitatea obiectiv de receptare sonor, auzul emoional reprezint componenta subiectiv, ce implic aprecierea calitativ, iar auzul raional exprim cumulativ sinteza celor dou. De asemenea, auzul muzical poate fi defalcat n dou categorii care prevd, pe de o parte, modalitatea de recepie, iar pe de alt parte calitatea i cantitatea percepiei. Modalitatea de recepie se divide, la rndul ei n dou tipologii de auz binecunoscute i anume auzul relativ i auzul absolut. n acelai mod, calitatea i cantitatea percepiei surprinde tipologiile auzului melodic versus auzul armonic.

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ABSTRACT We have written the present paper in order to present the ICT methods used in the educational process to form and develop specialized musical hearing the audio culture a fundamental necessity for every musician. The paper is the result of experience and its results are a warrant for continuing to involve these methods in musical education. The exercises presented in the present article, used in the study programs together with written educational material syllabuses media material tapes, CDs as well as uploads on the electronic platform www.amgd.ro/did are living proof of the conditions of achieving educational success.

Keywords Musical hearing, ear training, ICT, software, syllabus

1. INTRODUCTION THE CONCEPT OF MUSICAL HEARING Musical hearing is the sensorial, emotional and rational ability to consider the sonorous phenomenon, socially and historically conditioned. [1] The same source explains the three levels of perception: sensorial hearing refers to the objective ability to perceive sounds, emotional hearing represents the subjective component, involving qualitative judgment, while rational hearing expresses their synthesis.

Moreover, musical hearing can be divided into two categories involving, on the one hand, the way of perception and on the other, the quality and quantity of perception. The way of perception is also divided into two well-known hearing typologies, that is, relative and absolute hearing. Similarly, the quality and quantity of perception includes the typology of melodic versus harmonic hearing.


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Fig. Auzul muzical

Cele dou concepte de auz melodic i auz armonic se refer la cantitatea i calitatea percepiei auditive, delimitare care se refer exclusiv la capacitatea de recunoatere i reproducere a unei singure linii melodice, n opoziie cu posibilitatea integrativ de receptare unitar a dou sau mai multe elemente sonore intervale sau acorduri emise concomitent. Aici ne referim exclusiv la practica i la asimilarea unuia versus a mai multor elemente sonore, pentru c cele dou tipologii nu se exclud reciproc, din contr, conceptul de auz armonic l nglobeaz pe primul, tiut fiind faptul c nu exist muzic n afara armoniei, pentru c orice linie melodic include intrinsec ntreaga palet de concepii armonice. n acest mod, putem extinde i unifica cele dou concepte care converg i definesc, practic, auzul muzical. Auzul relativ se bazeaz pe relaionare i pe posibilitatea de a realiza raporturi ntre principalele concepte muzicale, pornind de la simultaneitatea a dou sau mai multe sunete intervale sau acorduri mergnd spre capacitatea de a identifica i a pune n relaie raporturi armonice, funcii etc. Comun celor mai muli dintre noi, auzul relativ se identific cu auzul educat, auzul perfectibil, care necesit o lung perioad de timp pentru specializare, dar care ofer o percepie subiectiv asupra muzicii i se plaseaz n sfera conceptului de netemperaj. n opoziie cu acesta, auzul absolut reprezint capacitatea de a recunoate i de a interpreta sunetele fr un reper dat. Aceast capacitate este dat n special de memoria muzical perfect temperat. Avantajele se regsesc n sfera virtuozitii cu care persoana n cauz determin sau poate intona un sunet, acesteia nefiindu-i necesar relaionarea cu un sunet dat. Am putea spune c avem de-a face cu auzul nnscut, care nu necesit educare, cu urechea perfect spre care tinde oricare muzician. Este adevrat c persoana nzestrat cu aceast abilitate are reale avantaje fa de auzul relativ, n schimb trebuie avute n vedere o serie de dezavantaje: interpretarea eronat a sunetelor enarmonice; incapacitatea interpretului de a face fa distonrii fapt regsit n muzica pentru cor sau n cazul unui acordaj imperfect realizat; frecvent, urechea absolut este n strns relaie cu timbrul anumitor instrumente. Urechea absolut se refer la posibilitatea de percepie i de a nelege sunetul muzical n aceeai msur ca i un

Auzul muzical

capacitatea senzorial, emoional i raional de percepie a fenomenului sonor

Auz relativ - relaionare -

Auz absolut - memorizare, limbaj -

-

Auz melodic

Auz armonic

Auzul muzical

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Fig. Musical hearing

The two concepts of melodic and harmonic hearing refer to the quantity and quality of ear perception, their delimitation referring only to the ability to recognize and reproduce a single melodic line, as opposed to the integrative ability of unitary perception of two or more sonorous elements intervals or chords emitted at the same time. We refer here exclusively to the practice and assimilation of one versus several sonorous elements, as the two typologies do not exclude one another; on the contrary, the concept of harmonic hearing encompasses the first one, as it is well known that there is no music without harmony, every melodic line including the entire pallet of harmonic conceptions. We can therefore extend and unify the two converging concepts which practically define musical hearing.

Relative hearing is based on relating and on the possibility to relate the main musical concepts starting from the simultaneity of two or more sounds intervals or chords progressing towards the ability to identify and relate harmonic relations, functions etc. Common for most of us, relative hearing is the same with educated, perfectible hearing, which needs a longer time, but offers a subjective perception on music, placing it outside the area of the non temperate. In opposition, absolute hearing is the ability to recognize and interpret sounds without a reference point. This ability is the result of perfectly tempered musical memory. Advantages are to be found in the virtuoso area, as the person can sing or play a sound without relating to a given sound. We could say that we are dealing with innate hearing, which needs no education, the perfect ear, every musicians goal. Though it is true that such a person has numerous advantages, there are also disadvantages to be taken into account: misinterpretation of enharmonic sounds; incapacity to cope with singing or playing out of tune in choral music or in imperfect tunings; absolute ear is frequently in relation with the timbre of certain instruments.

Absolute ear refers to the possibility of perception and understanding of a musical sound as language, with the

Musical Hearing

Sensorial, emotional and rational ability to perceive the sonorous phenomenon

Relative hearing

- relating -

Absolute hearing -memory, language -

MELODIC HEARING

HARMONIC HEARING

Musical Hearing


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limbaj, avnd ca principal efect numirea notelor. Totui, urechea absolut nu este o abilitate exclusiv muzical, ci mai degrab o abilitate hiper-lingvistic. n aceeai msur n care fenomenul lingvistic este o combinare de frecvene ale sunetului care sunt nzestrate cu sensuri i concepii, urechea absolut atribuie sensuri fiecrei frecvene a sunetului, asociate de aceast dat cu sunetele muzicale. Aceast corelare ofer posibilitatea omului nzestrat cu acest tip de auz s identifice i s coreleze orice tip de zgomot, orice lucru care produce o anumit frecven, cu un sunet muzical de exemplu, sunetul produs de picturile de ploaie poate fi pus pe note. [2] Dezvoltarea auzului muzical este un deziderat pentru muzicianul profesionist, abilitate care guverneaz ntreaga palet de discipline care teoretizeaz muzica. Dac armonia vizeaz aspectul vertical i relaiile care se stabilesc ntre fiecare unitate acordic, contrapunctul surprinde traiectele liniare, formele teoretizeaz arhitectonica muzical, teoria muzicii analizeaz ntregul spectru al elementelor generative ale muzicii, toate acestea sunt strict dependente de conceptul auzului muzical, acesta fiind cel cruia i se adreseaz i fr de care muzica, n cel mai intrinsec mod al su, nu poate exista. Muzica este printre puinele arte care se adreseaz plurisenzorialului: fr ndoial c auzul este principala modalitate de receptare, acesta fiind ntregit de ctre aspectele vizuale, multidisiciplinaritate regsit n special n sfera muzicii de scen. Astfel, dezvoltarea auzului muzical reprezint o cerin imperativ, fapt impus de scopul principal al artei sunetelor receptarea prin auz. Disciplinele muzicale se pot mpri n dou categorii: cele pur teoretice i cele care creeaz i dezvolt aptitudini, componente care sunt n relaie de interdependen, condiionndu-se reciproc. Datorit acestui fapt, segmentele teoretice trebuie s se dezvolte n paralel cu practicul, fr discrepan, chiar dac timpul necesar implementrii corecte este diferit. nelegerea categoriilor teoretice trebuie s fie n concordan cu dezvoltarea abilitilor auditive, coinciden n care nelegerea conceptelor muzicale orizontale, verticale, arhitectonice etc. i auzirea acestora trebuie s mearg mn n mn. [3]

2. PROPUNERI DE DEZVOLTARE A AUZULUI MUZICAL PRIN EXERCIII MEDIATE DE TIC Dezvoltarea auzului muzical a constituit o cerin de baz n educaia studenilor nscrii n programul de nvmnt la distan din Academia de Muzic Gheorghe Dima, soluiile preconizate de colectivul de profesori coordonatori ai disciplinei de teoria muzicii-solfegiu-dictat fiind gndite pentru a asigura un antrenament constant al cursanilor. S-au conceput exerciii sonore ce au fost postate pe platforma e-learning a programului, practic ce a fost conceput a fi executat individual de ctre studeni, ntr-un ritm personalizat, dup nivelul propriu de dezvoltare auditiv, sub forma a trei activiti:

interpretarea cu vocea a unor fragmente muzicale,

notarea cu sunete a unor exerciii muzicale,

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main effect: naming the notes. Nevertheless, absolute ear is not exclusively a musical ability, but more like a hyper-linguistic ability. The same way the linguistic phenomenon is a combination of sound frequencies endowed with meanings and conceptions, absolute ear gives meanings to every sound frequency, this time associated with musical sounds. This correlation enables the person with absolute ear to identify and correlate any type of noise, any sound producing a certain frequency, with a musical sound for example, the sound made by the rain drops can be put on notes. [2]

Developing musical hearing is a goal for professional musicians, as the ability governs the entire pallet of musical theoretical subjects. If harmony refers to the vertical aspect and the relations between chordic units, counterpoint follows linear trajectories, forms theorize musical patterns, musical theory analyzes the entire range of musical generative elements and they are all strictly dependent upon the concept of musical hearing, without which music cannot exist. Music is among the few arts addressing the pluri-sensorial: hearing is, clearly, the main way of perception, completed by visual aspects pluridisciplinarity to be found especially in opera and theatre music.

Therefore, developing musical hearing is an imperative requirement imposed by the main purpose of music hearing. Musical subjects can be divided into two categories: the purely theoretical ones and the ones developing skills, interdependent components which condition each other. Due to this fact, the theoretical segments must develop in parallel with the practical ones, even if the time necessary for correct implementation is different. Theoretical categories must be understood according to the development of ear training, a coincidence where the understanding of musical concepts horizontal, vertical, architectonic etc. and their hearing must go hand in hand. [3]

2. PROPOSITIONS FOR DEVELOPING MUSICAL HEARING THROUGH ICT-MEDIATED EXERCISES The development of musical hearing was a basic requirement in the education of students enrolled in the distance education program at the Gheorghe Dima Music Academy, the solutions envisioned by the coordinating teachers for the music theory-solfge-dictation subject being conceived to ensure the constant training of students.

Sonorous exercises have been conceived and uploaded on the e-learning platform of the program, meant to be executed individually by the students, customized according to their level of hearing development, in the form of three activities:

singing certain musical fragments,

noting with sounds certain musical exercises,

writing down observations regarding pitch, range, register, number of voices etc.


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scrierea cu text a unor observaii legate de nlime, ambitus, registru, numr de voci etc.

Pentru dezvoltarea acestor proceduri s-au parcurs urmtoarele etape:

alegerea textelor muzicale, problematizarea lor n relaie cu obiectivele

urmrite prin aplicaie, nregistrarea n studio a exerciiilor muzicale, crearea materialelor scrise (syllabus-uri) realizarea de CD-uri i casete audio cu

exerciiile propuse plasarea aplicaiilor pe platforma educaional a

programului. n detaliu, prezentm cteva din soluiile propuse: a. Cu scopul dezvoltrii auzului polifonic, s-a preconizat intonarea unor solfegii la dou voci constituite imitativ, ce erau prezentate n forma audio doar prin interpretarea unei singure voci. Intonarea cu vocea a liniei melodice ce realizeaz imitaia la octav va nlesni att parcurgerea contient a unui text n relaie cu vocea precedent ct i, mai ales, o evoluie a performanei auditive nspre gndirea sunetelor n relaie cu contextul armonico-polifonic. Ex. O. Lassus, Motet nr.14

Acelai exemplu muzical poate fi utilizat pentru scrierea dup dictat a fragmentului, respectiv n syllabuss-ul destinat dezvoltrii auditive prin dictee armonice i polifonice, cursantului i este fixat notaional (n cazul acestui exerciiu) doar linia vocii de bas, el urmnd s completeze n scris cealalt voce: [4] Ex. numai linia de bas

b. Cu scopul formrii auzului armonic, utilizarea unor exerciii de scriere/ recunoatere a unor structuri simultane poate fi mediat de TIC. Considerate exerciii pregtitoare pentru dezvoltarea reflexului intervalistic i acordic, notarea cu sunete a unor grupri de sunete, ce sunt redate electronic, este facilitat de precizarea unor sunete reper ce sunt fixate notaional de la nceput:

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The development of these procedures went through the following stages:

the choice of musical texts,

their problematization in relation to the objectives of the application,

the recording of the exercises in the studio,

the creation of the written material (syllabuses)

the making of CDs and audio tapes with the exercises

the uploading of the exercises on the educational platform of the program.

We present in detail some of the solutions proposed:

a. In order to develop polyphonic hearing, we envisaged the intonation of solfges on two voices, built on imitation, presented in an audio form by a single voice. Singing the melodic line while realizing the imitation at the octave will ease both the awareness in reading a text in relation with the previous voice and the evolution of the hearing towards thinking of sounds in relation with the harmonic-polyphonic context.

Ex. O. Lassus, Motet no.14

The same musical example can be used for writing the fragment according to dictation, that is, in the syllabus aiming at developing hearing through harmonic and polyphonic dictations: in this exercise, only the bass line is noted, leaving the student to write the second voice: [4]

Ex. +only the bass line

b. In order to form harmonic hearing, the use of certain writing/recognition exercises for certain simultaneous structures can be mediated by ICT. Considered to be preparatory exercises for the development of the interval and chord reflex, the notation with sounds of groups of sounds rendered electronically is facilitated by certain reference sounds fixed by notation from the beginning:


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c. Avnd ca obiectiv progresul n educarea auzului armonic, studierea unui fragment la patru voci, din creaia de corale a lui J. S. Bach, prin activitile de solfegiere/notare dup dictare a textului muzical, folosind nregistrri prealabile ale fragmentelor, poate reprezenta o form accesibil de dezvoltare a auzului muzical. Variantele acestui tip de exerciiu sunt inepuizabile, spre exemplu notarea vocilor de mijloc (alto i tenor) dintr-un coral este mult facilitat dac sunt precizate vocile de sopran i bas, n syllabus studentul primind urmtoarea configurare a fragmentului ce trebuie completat: Ex.

n relaie cu nivelul de educaie auditiv a subiecilor, este posibil formularea unor cerine de notare doar a unei voci din scriitura coralului, forma scris a dicteului avnd iniial urmtorul aspect: Ex.

3. SOFTWARE DEDICAT EDUCRII AUZULUI MUZICAL AURALIA Pachetul de programe Sibelius conine o serie ntreag de software-uri muzicale, fiecare n parte fiind centrate pe o anumit categorie, dup cum urmeaz:

programe de notaie muzical Sibelius; programe de scanare muzical i de transcriere

audio PhotoScore, AudioScore; programe de educaie muzical Auralia i

Musition; programe dedicate partiturilor digitale

Schorch. Seciunea consacrat educaiei muzicale conine dou software-uri: Auralia pentru dezvoltarea auzului muzical; Musition pentru nvarea teoriei muzicale. Auralia este un software utilizat pentru dezvoltarea i exersarea auzului muzical, fiind unul dintre cele mai cuprinztoare i mai complexe programe de acest gen. Programul are 41 de tipuri de exerciii, gradate ca dificultate, care ofer un feedback imediat, utilizatorul primind evaluarea exerciiilor parcurse. Rspunsurile pot fi oferite prin utilizarea unui microfon sau a unei tastaturi MIDI, soft-ul fiind recomandat unei palete largi de utilizatori, att pentru nceptori, ct i pentru avansai. Programul este structurat n cinci mari seciuni dup cum urmeaz:

Intervale i scri Acorduri Ritm Armonie i forme nlime i melodie

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c. Meaning to develop the training of harmonic hearing, the study of a fragment for four voices from J. S. Bachs choral work, through solfge/notation according to dictation of the musical text, by using previous recordings of the fragments, can be very helpful. The versions of this type of exercise are endless, for example the notation of the middle voices (alto and tenor) in a choral is much facilitated if the voices of soprano and bass are noted, while the syllabus offers the student the following configuration of the fragment to be completed:

Ex.

According to the students level of ear training it is possible to ask for the notation of a single voice in the choral, the initial form of the dictation looking like this:

Ex.

3. SOFTWARE FOR EAR TRAINING AURALIA The Sibelius pack contains a series of musical software, each of them centered on a certain focus, as follows:

software for musical notation Sibelius;

software for musical scanning and audio transcription PhotoScore, AudioScore;

software for musical education Auralia and Musition;

software for digital scores Schorch. The musical education section contains two programs: Auralia for developing musical hearing; Musition for learning musical theory.

Auralia is a software used for the development and training of musical hearing, being one of the most comprising and complex programs in its category. It contains 41 types of exercises, with increasing levels of difficulty, offering instant feedback. Answers can be given with the help of a microphone or a MIDI keyboard, the software being recommended to a large pallet of users, beginners, as well as advanced ones.

The program is structured into five large sections, as follows:

Intervals and scales Chords Rhythm Harmony and forms Pitch and melody


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La rndul lor, fiecare categorie este divizat ntr-o serie cuprinztoare de exerciii specifice, care sunt nsoite de instruciuni de realizare i exemple, aa dup cum se poate observa din imaginea de mai jos, care reprezint pagina de pornire a programului. Fig. Pagina de iniiere a programului Auralia

Interval

comparison Interval

imitation Interval

recognition Jazz

singing Jazz scale

singing Jazz scales Scale

singing Scales

Chord comparison

Chord imitation

Chord recognition

Chord singing Cluster chords Jazz chord

imitation Jazz chord

singing Jazz chords

Meter recognition

Pulse tapping

Rhythm comparison

Rhythm dictation

Rhythm element dictation

Rhythm elements

Rhythm imitation

Rhythm styles

Advanced progressions

Cadences Chord

progressions Forms Jazz forms Jazz

progressions Modulation

Absolute pitch Counterpoint

singing Melodic

comparison Melodic

dictation Note

recognition Pitch

comparison Pitch dictation Pitch imitation Sight singing Tuning

Unul dintre marile avantaje ale programului este acela c poate fi personalizat, n oricare dintre cele 41 de subiecte, n funcie de necesitile fiecrui utilizator n parte. De exemplu, n cadrul exerciiilor de recunoatere a intervalelor, se poate opta ca programul s furnizeze doar anumite intervale, n funcie de nivelul sau nevoile fiecrui beneficiar. Fig. Pagina de personalizare pentru exerciiile de recunoatere a intervalelor

Exist o serie de lecii pentru fiecare categorie n parte care conin texte i exemple, care pot fi audiate prin simpla intervenie a mouse-ului crora le sunt adugate teste de verificare care trebuie completate pentru a putea avansa la nivelul urmtor.

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Each category is divided into a comprising series of specific exercises, accompanied by instructions and examples, as can be seen in the image below, which is the starting page of the program.

Fig. The starting page of Auralia

Interval

comparison Interval

imitation Interval

recognition Jazz

singing Jazz scale

singing Jazz scales Scale

singing Scales

Chord comparison

Chord imitation

Chord recognition

Chord singing Cluster chords Jazz chord

imitation Jazz chord

singing Jazz chords

Meter recognition

Pulse tapping

Rhythm comparison

Rhythm dictation

Rhythm element dictation

Rhythm elements

Rhythm imitation

Rhythm styles

Advanced progressions

Cadences Chord

progressions Forms Jazz forms Jazz

progressions Modulation

Absolute pitch Counterpoint

singing Melodic

comparison Melodic

dictation Note

recognition Pitch

comparison Pitch dictation Pitch imitation Sight singing Tuning

One of the main advantages of the program is that it can be customized for every one of the 41 subjects, according to the needs of each user. For example, at the exercises for intervals recognition, one can opt for the program to show only certain intervals, according to the level or needs of every beneficiary.

Fig. The customization page in the interval recognition exercises

There are lessons for each category containing texts and examples which can be heard by a simple mouse click together with verification tests to be filled in before advancing to the next level.


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Fig. Pagina de lecie

Auralia conine o serie de 24 de cursuri care vizeaz toate subiectele prezente n program i care conin exerciii, lecii i teste. Datorit faptului c fiecare student care folosete acest program are un cont propriu, Auralia ofer rezultate, rapoarte care ofer o perspectiv clar asupra evoluiei, o modalitate important oferit profesorului de a monitoriza progresul elevilor si. Auralia este unul dintre cele mai complexe i mai complete programe interactive dedicate exersrii auzului muzical, cu o adresabilitate larg i cu multiple posibiliti de personalizare n funcie de necesitile fiecrui utilizator. Educarea urechii muzicale intervale, acorduri, scri, ritm, dicteu are nevoie de interaciunea elev-profesor. Soft-ul nu dorete s nlocuiasc relaia uman, dar vine n ntmpinarea autoeducrii elevilor i studenilor, ajutnd i completnd ntregul set de exerciii pentru dezvoltarea unei competene att de necesare muzicianului profesionist urechea muzical.

4. CONCLUZII: AVANTAJE I LIMITE Formarea auzului muzical profesionist, mai simplu cultura auzului, este condiia sine qua non a oricrui subiect care vizeaz dobndirea condiiei de muzician, pentru orice carier: pedagog, compozitor, interpret, muzicolog. Procesul culturii auzului are o parte intuitiv care se bazeaz pe dotaia muzical a fiecrei persoane talentul muzical prin care, cvasi-automat se nva, se deprind elementele de relaionare a sunetelor n cadrul melodiei i mai apoi n cel polifonic i armonic. Educaia propriu-zis a aprut istoric n momentul n care s-a organizat procesul instructiv, adic coli de nvare a muzicii. n cadrul acestor coli, secole de-a rndul, pianul a fost instrumentul (aproape exclusiv) folosit pentru toate exerciiile de formare a auzului muzical, ndeosebi prin ceea ce s-a chemat dicteu muzical. Dar limitele lui erau multe legate n primul rnd de srcia timbrului, de atacul i durata sunetului. De aceea, apariia mijloacelor electronice i ndeosebi a computerului care poate fi considerat instrumentul tuturor instrumentelor a deschis un cmp imens posibilitilor de concepere a oricrui exerciiu pentru dezvoltarea auzului muzical n toat complexitatea lui. Experimentele realizate n acest domeniu de antrenament auditiv n cadrul formei de nvmnt la distan din Academia de Muzic Gheorghe Dima reprezint o premier n lansarea instruirii prin mijloace TIC.

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Fig. The lesson page

Auralia contains a series of 24 courses on all subjects present in the program, containing exercises, lessons and tests. As every user has their own account, Auralia gives results and reports, offering a clear perspective on the students evolution, an important tool for teachers who can monitor the students evolution.

Auralia is one of the most complex and complete interactive programs for ear training, with vast target audiences and multiple customization possibilities, according to the needs of each user. Nevertheless, ear training intervals, chords, scales, rhythm, dictation also requires the teacher-student training. The software does not intend to replace human interaction, but it helps self-education, completing the entire set of exercises for the development of an ability so needed in the musical professions musical ear.

4. CONCLUSIONS: ADVANTAGES AND LIMITATIONS The development of professional musical hearing is the sine qua non requirement of every person who wants to become a musician, in any line of work: teacher, performer, composer or musicologist.

The process of ear training has an intuitive side, based on every persons musical endowment musical talent which leads to the quasi automatic learning of the relations between sounds in the melody and then in the polyphonic and harmonic context.

Ear training developed historically, when the educational process was organized in music schools. In these schools, piano was (almost exclusively) the instrument used for ear training exercises, especially through what was called musical dictation. But it had many limitations connected especially to the poor timbre, the attack and the duration of the sounds.

Therefore, the appearance of the electronic devices and especially of the computer which can be considered the instrument of all instruments opened the way for vast possibilities of conceiving any exercise for ear training in all its complexity.

Experiments in this area of ear training in the Distance Learning Department of the Gheorghe Dima


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Procesul a decurs astfel: n etape de experimentare a soluiilor preconizate de autorii cursurilor s-a urmrit evoluia a dou grupe de cursani: [5] o prim grup ce se antrena prin metodele tradiionale, prin apelul la instrumente de sprijin, de regul pian, i o grup de studeni ce au utilizat tehnologiile electronice. Acetia din urm au fost obligai s completeze n scris (pe baza fragmentelor imprimate) exerciiile de intervale, acorduri, dictee armonice i polifonice. Rezultatele obinute la evalurile periodice au demonstrat o evoluie crescut n rndul studenilor care au avut acces la o pregtire constant, mediat de TIC. Se poate afirma c avantajele oferite de noile tehnologii sunt inestimabile i ilimitate.

BIBLIOGRAFIE / REFERENCES

[1] ***, Dicionar de termeni muzicali (Dictionary of musical terms), 2nd edition, revised and expanded, Bucureti, Editura Enciclopedic, 2008, p. 57

[2] Aruffo,Chris, Theory of Absolute Pitch, http://www.aruffo.com/eartraining/theories.htm [3] Telesco, Paula, Contextual Ear Training, Journal of Music Theory Pedagogy, vol. V, No. 2, 1991. [4] Rp, C., Nedelcu. N., Dictee armonice i polifonice (Harmonic and polyphonic dictations), Editura

MediaMusica Gheorghe Dima Music Academy, 2005, Cluj-Napoca. [5] Rp, C., Nedelcu. N., Teste de dictat i teoria muzicii (Dictation and music theory tests), of the

Gheorghe Dima Music Academy, Cluj-Napoca Editura MediaMusica, 2002.

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Music Academy are the first ones of this type to launch ICT training.

The steps of the process were: in stages of experimenting solutions presented by the course authors, we followed the evolution of two groups of students: [5] the first group, training through traditional methods, with support instruments, usually the piano, and a second one, using electronic technologies. The latter group was made to complete in writing (on printed forms) exercises of intervals and chords as well as polyphonic and harmonic dictations. The results of the periodic evaluations have shown an increased evolution for the students who had access to constant, ICT- mediated training. We can therefore state that the advantages of the new technologies are inestimable and unlimited.

procedee de dezv a auzului muzical

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