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This project aims to explore the ability of playing by ear in order to design a creative and stimulating teaching approach for the development of the skill in piano lessons. The goal is to devise effective strategies for piano instructors, offering guidance on how to effectively advance the abilities of their students. Consistent with Woody’s ideas, playing by ear has been described by educators as a relevant developmental prerequisite to becoming a truly fluent music reader. Nevertheless, making sounds by ear is often just the initial and playful approach to music, and its significance diminishes considerably in education as the skill level increases. In fact, one must not forget the crucial role of the skill, that is the direct connection between music and player (without any interference like the score).

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Joana Maria Riera Grimalt - Developing the ability of playing by ear to become an integral musician. Strategies for the piano teacher. - 2025

  • Contents
    • TABLE OF CONTENTS
    • INTRODUCTION
    • 1. BACKGROUND THEORY
    • 1.1. Defining "Playing by ear"
    • 1.2. Aural skills
    • 1.3. Music as a language
    • 1.4. Adult education
    • 1.5. Synthesis
    • 2. METHODOLOGY
    • 2.1. Action research
    • 2.2. Research steps
    • 2.3. Data collection
    • 2.4. Data analysis
    • 2.5. Validation strategies
    • 2.6. Role of the teacher
    • 2.7. Ethical considerations
    • 3. DATA COLLECTION
    • a. Interviews
    • b. Observations
    • c. Report of my own experience
    • d. The experiment
    • 4. OUTCOMES. Exercises box "The path from ear to hand"
    • 4.1. Echo patterns
    • 4.2. Call and response
    • 4.3. Modeling
    • 4.4. Improvisation
    • 4.5. Practicing with recordings
    • 4.6. Playing with peers
    • 5. DISCUSSION
    • 6. CONCLUSIONS
    • BIBLIOGRAPHY
    • List of references
    • APPENDIX
    • a. Audio recordings
    • b. Critical friend's reports
    • THE END
    • Joana Maria Riera Grimalt
  • Meta
  • Comments
  • Terms
  • contents
    • TABLE OF CONTENTS
    • INTRODUCTION
    • 1. BACKGROUND THEORY
    • 1.1. Defining "Playing by ear"
    • 1.2. Aural skills
    • 1.3. Music as a language
    • 1.4. Adult education
    • 1.5. Synthesis
    • 2. METHODOLOGY
    • 2.1. Action research
    • 2.2. Research steps
    • 2.3. Data collection
    • 2.4. Data analysis
    • 2.5. Validation strategies
    • 2.6. Role of the teacher
    • 2.7. Ethical considerations
    • 3. DATA COLLECTION
    • a. Interviews
    • b. Observations
    • c. Report of my own experience
    • d. The experiment
    • 4. OUTCOMES. Exercises box "The path from ear to hand"
    • 4.1. Echo patterns
    • 4.2. Call and response
    • 4.3. Modeling
    • 4.4. Improvisation
    • 4.5. Practicing with recordings
    • 4.6. Playing with peers
    • 5. DISCUSSION
    • 6. CONCLUSIONS
    • BIBLIOGRAPHY
    • List of references
    • APPENDIX
    • a. Audio recordings
    • b. Critical friend's reports
    • THE END
    • Joana Maria Riera Grimalt
  • abstract
    This project aims to explore the ability of playing by ear in order to design a creative and stimulating teaching approach for the development of the skill in piano lessons. The goal is to devise effective strategies for piano instructors, offering guidance on how to effectively advance the abilities of their students. Consistent with Woody’s ideas, playing by ear has been described by educators as a relevant developmental prerequisite to becoming a truly fluent music reader. Nevertheless, making sounds by ear is often just the initial and playful approach to music, and its significance diminishes considerably in education as the skill level increases. In fact, one must not forget the crucial role of the skill, that is the direct connection between music and player (without any interference like the score).
  • Joana Maria Riera Grimalt - Developing the ability of playing by ear to become an integral musician. Strategies for the piano teacher. - 2025
  • Meta
  • Comments
  • Terms