1- What comes first: the mind or the hand?
Throughout this project, a recurring question has surfaced: What takes precedence—the perceptual or the cognitive? While musical understanding—the “naming” of sounds—is undeniably important, it has become evident that perception must lead the way in developing the ability to play by ear. Establishing a direct connection between sound and instrument before introducing analytical labels fosters intuitive musical imagery. While cognitive processing plays a role in study and reflection, it is too slow and unreliable for real-time performance. In such moments, quick reactions, strong aural memory, and internal hearing prove far more dependable.
This insight resonates with my personal experience: in performance, playing by ear or heart is what truly drives us. We don’t have time to process theoretical labels unless those names are deeply ingrained. When music vividly inhabits the mind and flows naturally through the instrument, it creates a profound sense of connection and confidence. Playing by ear, I believe, nurtures this essential flow. That said, relying solely on intuition is not sufficient. Structured solfège study is vital to understanding musical relationships and musical context. This foundational knowledge enhances flexibility and guards against overreliance on muscle memory, which can leave pianists particularly vulnerable to instability on stage.
Should we prioritize singing and inner hearing, away from the instrument, as the Kodály approach suggests? Or is it more effective to explore musical intuition directly on the piano from the outset? The answer likely depends on the student’s goals and background. For children, who are often a blank slate, cultivating inner hearing and singing first is ideal. However, for adults, beginning with intuitive playing by ear can be an excellent alternative. Overloading them with theory and labels early on can be frustrating, while a sound-first approach develops musical intuition organically. For beginners, this can start simply—with trial and error—and gradually incorporate theoretical concepts. Regardless of the method, the emphasis should always remain on sound as the primary driver of learning.
2- The Limits of Playing by Ear
While playing by ear is invaluable for musicians as it creates a direct connection between sound and instrument, its practicality has limits. This skill is essential in the early stages of learning, but as music becomes more complex, relying solely on playing by ear can be increasingly challenging. In such cases, reading sheet music often proves more efficient. So, where is the tipping point?
In my view, both skills—playing by ear and sight-reading, among others as improvisation or playing by heart, according to the model of McPherson (2022)—should be developed in tandem to cultivate well-rounded musicianship. A musician with strong auditory skills, proficient sight-reading, and cognitive understanding is better prepared to navigate diverse challenges (McPherson, 2022). Additionally, the feasibility of playing by ear varies across musical styles; for example, it is far easier to learn a pop song by ear than an atonal composition. This underscores the need to tailor skill development to the musical context and the learner’s needs.
As Bastiaan van der Waals (critical friend) insightfully noted, playing by ear enhances working memory and serves as both a limitation and a healthy challenge. While the initial cost—more mistakes—is immediate, the long-term benefits include better memorization and easier error correction. For educators, the key lies in striking the right balance, introducing enough challenges to foster growth without overwhelming the learner.