Synthesis of the interviews
Although the interviewees come from very diverse backgrounds, several key ideas consistently emerge. All emphasize the importance of starting with sound, deliberately setting aside note names or theoretical labels in the early stages. Intuition and play—often beginning with trial and error—are also seen as essential foundations for developing musical understanding. The relevance of training the inner hearing or auditory memory is a common point.
From the perspective of Kodály-trained teachers, the complexity and potential confusion of different pitch-naming systems are acknowledged, particularly regarding how to apply movable-do at the piano—an issue that remains open. Across all profiles, there is strong agreement on the effectiveness of echo patterns, call-and-response, and improvisation exercises as tools for internalizing music. They also emphasize the importance of understanding the relationships between notes and their hierarchical roles within a key.
From the learners’ perspective, the value of understanding the available set of notes (scale or tonal framework), the relationship between melody and harmony, and the physical sensations associated with the instrument itself is particularly evident. These bodily and intuitive aspects play a central role in the development of aural skills. Also noteworthy is the use of recordings as a working tool, sometimes much rejected in the field of classical music.
In conclusion, the interviews span a range of contexts—from formal pedagogical training to informal self-taught experiences—but all contribute valuable insights. From this shared ground, I propose an initial hypothesis: that playing by ear should begin with intuition and gradually evolve into more conscious, cognitive understanding.