Träning av det relativa gehöret - Pedagogers metoder och strategier i gehörsundervisningen på gymnasie- och högskolenivå
(2015) LMMN94 20142Malmö Academy of Music
- Abstract (Swedish)
- Syftet med denna studie är att undersöka vilka metoder och strategier som gehörslärare lär ut till sina elever vid träning av det relativa gehöret. Undersökningen har sin utgångspunkt i svenska gymnasieskolans estetiska program med musikinriktning och i Musikhögskolan samt skolornas och pedagogernas egna undervisningsmål. Litteraturkapitlet handlar om tidigare skandinavisk forskning, relaterad till relativt gehör, instrumentets betydelse i gehörsundervisningen, studenters inställning till gehörsundervisning samt styrdokument på gymnasieskolan och Musikhögskolan.
Studien är uppbyggd på kvalitativ forskning som inspirerats av hermeneutiska teorier och metoder. Som datainsamlingsmetod har kvalitativa forskningsintervjuer använts och fem... (More) - Syftet med denna studie är att undersöka vilka metoder och strategier som gehörslärare lär ut till sina elever vid träning av det relativa gehöret. Undersökningen har sin utgångspunkt i svenska gymnasieskolans estetiska program med musikinriktning och i Musikhögskolan samt skolornas och pedagogernas egna undervisningsmål. Litteraturkapitlet handlar om tidigare skandinavisk forskning, relaterad till relativt gehör, instrumentets betydelse i gehörsundervisningen, studenters inställning till gehörsundervisning samt styrdokument på gymnasieskolan och Musikhögskolan.
Studien är uppbyggd på kvalitativ forskning som inspirerats av hermeneutiska teorier och metoder. Som datainsamlingsmetod har kvalitativa forskningsintervjuer använts och fem undervisande gehörslärare, med flera års erfarenhet av att undervisa i gehör, deltog i studien.
Resultatet tyder på att gehörslärarna är eniga om att man ständigt ska träna sitt relativa gehör, eftersom gehör är en färskvara och det försämras om det inte hålls igång. Lärarna redogör för metoder för att identifiera toner utifrån musik, såsom strategier för identifiering av intervall samt toners funktioner i förhållande till ackord och harmonik. De redogör också för ett flertal aspekter som har anknytning till huvudinstrumentets betydelse vid gehörsträning som visualisering, sång, harmonikförståelse och diskantinstrument. Lärarnas metoder är till för att eleverna ska bli mer musikaliskt medvetna och att de kan ha nytta av det relativa gehöret i praktiken. Resultatet diskuteras och jämförs med den litteratur som omnämnts samt med musikpedagogiska aspekter. (Less) - Abstract
- The purpose of this study is to investigate methods and strategies for relative pitch training that ear-training teachers teach their students. The investigation is based on the educational goals for Swedish upper secondary schools’ musical aesthetic program, and on academic bachelor level. The educators' own teaching goals are also considered. The literature chapter presents previous Scandinavian research on a) methods for relative pitch training, b) the role of students’ main instrument in ear-training, c) students' general attitudes to ear training. Policy documents in the upper secondary school and on bachelor level are also used as analytical tools.
The study is based on qualitative research inspired by hermeneutic methods.... (More) - The purpose of this study is to investigate methods and strategies for relative pitch training that ear-training teachers teach their students. The investigation is based on the educational goals for Swedish upper secondary schools’ musical aesthetic program, and on academic bachelor level. The educators' own teaching goals are also considered. The literature chapter presents previous Scandinavian research on a) methods for relative pitch training, b) the role of students’ main instrument in ear-training, c) students' general attitudes to ear training. Policy documents in the upper secondary school and on bachelor level are also used as analytical tools.
The study is based on qualitative research inspired by hermeneutic methods. Qualitative interviews were implemented for the purpose of obtaining data. Five ear-training teachers, each one with several years of teaching experience, participated in the study.
The results indicate that the ear-training teachers agree about the importance of constantly practicing relative pitch, since aural skills are perishable and deteriorate if you do not keep training them. The teachers describe different methods for identifying notes in a musical context, such as strategies for identifying intervals and the function of the notes in relation to chords and harmonies. The teachers also describe several aspects related to the significance of utilizing the students’ abilities on their main instruments in ear training, such as visualization, vocals, understanding of harmony and melody instruments. The teachers' methods aim at making students more musically aware, thus enabling them to benefit from their skills in relative pitch for practical uses. The results are discussed in relationship to aforementioned scholarly literature and to music educational aspects. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/5268375
- author
- Lundberg, Patrik LU
- supervisor
- organization
- course
- LMMN94 20142
- year
- 2015
- type
- M3 - Professional qualifications ( - 4 Years)
- subject
- keywords
- Music Education, Educational sciences, hermeneutik, huvudinstrument, metoder, gehör, strategier, träning, toners funktioner, intervall, Musikpedagogik, Utbildningsvetenskap, main instrument, strategies, training, methods, pitch, diatonic function, interval, hermeneutic
- language
- Swedish
- id
- 5268375
- date added to LUP
- 2015-04-22 10:00:02
- date last changed
- 2015-04-22 10:00:02
@misc{5268375,
abstract = {{The purpose of this study is to investigate methods and strategies for relative pitch training that ear-training teachers teach their students. The investigation is based on the educational goals for Swedish upper secondary schools’ musical aesthetic program, and on academic bachelor level. The educators' own teaching goals are also considered. The literature chapter presents previous Scandinavian research on a) methods for relative pitch training, b) the role of students’ main instrument in ear-training, c) students' general attitudes to ear training. Policy documents in the upper secondary school and on bachelor level are also used as analytical tools.
The study is based on qualitative research inspired by hermeneutic methods. Qualitative interviews were implemented for the purpose of obtaining data. Five ear-training teachers, each one with several years of teaching experience, participated in the study.
The results indicate that the ear-training teachers agree about the importance of constantly practicing relative pitch, since aural skills are perishable and deteriorate if you do not keep training them. The teachers describe different methods for identifying notes in a musical context, such as strategies for identifying intervals and the function of the notes in relation to chords and harmonies. The teachers also describe several aspects related to the significance of utilizing the students’ abilities on their main instruments in ear training, such as visualization, vocals, understanding of harmony and melody instruments. The teachers' methods aim at making students more musically aware, thus enabling them to benefit from their skills in relative pitch for practical uses. The results are discussed in relationship to aforementioned scholarly literature and to music educational aspects.}},
author = {{Lundberg, Patrik}},
language = {{swe}},
note = {{Student Paper}},
title = {{Träning av det relativa gehöret - Pedagogers metoder och strategier i gehörsundervisningen på gymnasie- och högskolenivå}},
year = {{2015}},
}