‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP)

“…Finally, two of the most common responses from over 200 teachers who have undertaken the ear-playing tasks themselves during induction days have been that a) the teachers have been surprised and enlightened in being able to identify their own learning style from engaging in this task; and b) many of them said that the learning style construct had shed new light on the behaviours and attributes of many of their students, and enabled them to have a deeper appreciation of their students needs (see also Varvarigou, 2014). Our hope is that we can contribute to teacher-education through this discussion, and that the findings may be of interest to teachers, as well as psychologists of music, and musicians themselves.…”

“…For example, when, at the end of the project, the teachers were asked about the benefits of the EPP they emphasised that the project helped them give their students more autonomy during the lessons, and to assess their students needs more insightfully. They considered that the benefits for the students included an increase in students confidence in playing diverse repertoire and in using alternative pedagogies; enjoyment from bringing their favourite music and performing it during the lesson; listening with expectation and more awareness of dynamics and phrasing; and encouragement to improvise (Baker 2013, Baker and Green 2013, Green 2014, Varvarigou, 2014.…”

Estudio comparativo de métodos de aprendizaje de violonchelo utilizados en conservatorios de música españoles. Implicaciones para el profesorado

“…3) Aspectos psicológicos que intervienen en la práctica violonchelística, en especial la concentración (Beaty et al, 2013;Cosano, Zych, & OrtegaRuiz, 2017;Gregg, Clark, & Hall, 2008) y el desarrollo de la memoria musical (Chaffin, Lisboa, Logan, & Begosh, 2010;Herrera & Cremades, 2012). 4) Sensibilización musical, con especial atención hacia la afinación (Baker & Green, 2013;Varvarigou, 2014;Varvarigou & Green, 2015), el sentido rítmico (Ibeas, 2015;McPherson & Renwick, 2011), y los hábitos de estudio (Ballantyne & Packer, 2004;Cain, 2012;Lisboa, 2008).…”

“…Para el desarrollo del oído musical en el alumnado, varios autores concuerdan sobre la idoneidad de promover el canto interior (Beaty et al, 2013;Etxepare, 2011;Whitcomb, 2007) y la inclusión de grabaciones (Baker & Green, 2013;Varvarigou, 2014;Varvarigou & Green, 2015). Estos dos recursos son ampliamente tratados por Suzuki (1991) y Sassmannshaus (2009 en sus métodos.…”

“…Además, se pone letra a la mayoría de ejercicios, como un modo de desarrollar la afinación con el violonchelo en el alumnado de corta edad. En este caso, Sassmannshaus (2009) coincide con Baker y Green (2013), Varvarigou (2014), Varvarigou y Green (2015), y Whitcomb (2007), con relación al empleo del canto con la finalidad de desarrollar un oído interno que permita al intérprete evaluar la calidad de la afinación. El resto de métodos estudiados, en contraposición a este, no utiliza letras añadidas a las piezas o ejercicios propuestos.…”