Effects of Learning Melodies by Ear on Performance Skills and Student Attitudes.

Abstract

This study examined the effects of playing by ear in selected keys on the abilities of musicians (N = 28) to by ear and sight-read in those keys. Middle school band students in the experimental group learned melodies by ear in one familiar and two unfamiliar keys, and did no music reading in the new keys, while students in the contact-control group practiced technical exercises from notation. The experimental group improved significantly in playing by ear in the two new keys, but not in the familiar key, while the contact-control group did not improve in any of the keys. Both groups improved in sight-reading in all keys. Responding to an attitude survey, only students in the experimental group perceived any improvement in performance, specifically in the new keys. The results of the study suggest the potential benefits of playing by ear as preparation for sight-reading in new keys. Playing by ear in the instrumental music curriculum has gained support in American music education during recent years. In the National Standards for Music, achievement standard 2d for grades 5-8 recommends that students play by ear simple melodies on a melodic instrument (MENC Committee on Performance Standards, 1996, p. 69). This recommendation is in harmony with the suggestions of a variety of eminent pedagogues, including Froseth (2000) and Grunow, Gordon, and Azzara (2001). While experts have posited the benefits of playing by ear, research has also been affirmative. Research has focused on the following areas: (a) playing by ear and sight-reading, (b) playing by ear as preparation for music reading, and (c) playing by ear and student motivation. Many educators have advised learning melodies by ear in beginning instrumental music (e.g., Conway, 1997; Dalby, 1999; Martin, 2005), and some have also advocated aural transposition (Froseth, 1996; Grunow et al., 2001; Righter, 1945; Schleuter, 1997; Webster, 2000). Schleuter believed that familiar melodies were the most effective musical material for beginning instrumentalists. He recommended singing melodies before playing them and performing simple melodies at many different pitch levels. In this way, learning occurs without the need for additional materials such as technical drills and composed exercises, and a musical reason exists for learning new fingerings. Although traditional beginning band method books offer scant attention to playing by ear and rote-song instruction, two currently available series are exceptions. Jump Right In (Grunow et al., 2001) includes 10 folk songs to be learned by ear and then read in notation. Recommended enrichment activities include playing familiar songs in different keys, playing major songs in minor tonality, improvising harmony parts, and notating songs. Do It! Play in Band (Froseth, 2000) lists nine familiar melodies to be learned by ear and three familiar melodies to be played on a new starting note. In Do It! Play Recorder (Froseth, 1998), which is similar in design and content to the band method, students learn the definition of aural transposition and there are blank staves for notating familiar tunes beginning on new starting pitches. For more advanced musicians, Froseth (1996) has authored Studies in Aural Transposition. Playing by ear is a skill that is positively correlated with skills in sightreading. For example, among 98 high school instrumentalists, Luce (1965) documented a significant correlation of skills in playing by ear and sight-reading, (r = .50). McPherson (1995-1996) analyzed the performance skills of 101 clarinet and trumpet musicians. For students in grades 7-9, with participants closest in age to the present study, significant correlations included playing by ear and sight-reading (r = .40). McPherson noted that these relationships tended to strengthen over time. More recently, Bernhard (2004) reported a significant correlation (r = .67) for playing by ear and sight-reading among beginning band students. …

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