There is little emphasis placed on sight reading and theory. In call and response dictations, a learner listens to a musical phrase and simply sings it back, or repeats it back on their instrument. If you learning learning Rock, Pop, Soul, Gospel, Funk, Blues, Metal, Hip Hop, Country, Bluegrass, etc… or almost any traditional style of folk music from around the world, Call and Response connects your ear directly to the music. The third method or Ear Training is the ageless method of Call and Response – imitating the sounds that you hear. However, it is far too cumbersome as an ear training methodology for people interested in styles of music that typically don´t require abstract theory or sight reading, like modern popular styles of music or folk music. The Conservatory method may well serve the needs of students who need to develop deep skills in reading music and music theory. Since classical music enjoys high levels of perceived prestige in the musical world, this methodology has become standard for musical training, and is imitated in the few web apps and web sites devoted to ear training but targeting a wider audience beyond the classical and jazz world. Both these styles rely heavily on written notation as well as complex musical theories. This Conservatory methodology is common in two musical fields, Western European classical music and jazz. if your interested in starting to learn more) Most non musicians can perform well above random on aural tests concerning the cognitive processing of these musical skills ( See Levitin DJ (2012) What does it mean to be musical? Neuron 73: 635–637. This conservatory training methodology treats the learner as if they never had had previous contact with the music as if a student´s first contact takes place in the conservatory classroom, ignoring the large body of studies that clearly demonstrate the development of musical competence in areas of rhythm, melody, harmony, and timbre that happen naturally as humans are exposed to music during their infancy and childhood. This always leads to some students being bored with the initial material because it is too easy for their base line starting point, while other students get left behind in the more advanced material, because they didn´t have the chance to consolidate some of the previous work. Students have to follow a ridged learning schedule and curriculum.Self study learners usually only get limited, prerecorded exercises. In class, the professor may, or may not, add additional material that they have prepared. The training material is most often presented as a text book with some accompanying prerecorded exercises.Taught in the larger context of musical analysis and musical notation therefore to progress in this method, the learner needs to assimilate large quantities of abstract musical theory.If there is any musical output, the method usually limits it to singing what is heard, regardless of the instrument the learner plays.Notation based exercises – you learn to write what you hear.The second method of ear training, is the one found extensively through the Western European/North American Conservatory system and, by extension, in grade schools, high schools and university level music programs. And of course doing nothing doesn´t help you improve at all. Primarily there are three methods of ear training.
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