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Playing by ear

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171: 401:, where different strokes and techniques are used to produce different tones and timbres, or improvised music like jazz and classical Indian music, where large parts of the composition consists of guidelines for improvisation. Western musical notation can be ill-suited for these situations, and although supplements to musical notation can be invented to try to accommodate this, playing by ear and oral learning are often preferred because of readability, ease, and tradition. 216: 128:, originator of the term, describes audiation as: "the foundation of musicianship. It takes place when we hear and comprehend music for which the sound is no longer or may never have been present." It is often described as the ability to hear music in your head. In this sense, audiation is to music what 139:
Learning to play by ear, in the sense of making music without notation, is often compared to learning to speak a language. When sufficiently mastered, playing music by ear should be as comfortable and easy as having a conversation. We speak and react to what we hear, without having to think too
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Blues, pop, jazz, and many forms of non-western music are fundamentally rooted in the concept of playing by ear, where musical compositions are passed down from generation to generation. In this respect, playing by ear can also be seen as a music-specific example of
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deeply about every word we use. The same would be true when playing by ear. A musician can produce a sound at the same time they think of it, without having to consider every separate note they play.
320:, and hence playing by ear has a lower importance in musical training. Before the widespread use of sheet music, much early medieval Western music was learnt by ear, particularly in monasteries. 86:
One learns a piece of music by ear by repeatedly listening to it performed, memorizing it, and then trying to recreate what one has heard. This requires the use of several related skills such as
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Playing by ear is often also used to refer more generally to making music without using musical notation, perhaps using (elements of) improvisation and instant composition.
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It is a misconception that musicians who play by ear do not have or do not require musical education, or have no theoretical understanding of the music they are playing.
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system. Musicians will also train their playing by ear skills by taking recordings of full songs and pieces, figuring out the notes by ear, and either
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To practice playing music by ear, music teachers often have a student listen to short musical examples which the student will have to write out in
102:, and knowledge of the traditions of the music one is trying to learn. As such, learning to play by ear involves training those skills as well. 121:
or memorizing them. According to studies playing by ear is associated with a higher level of creativity and musical intelligence.
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However, many teaching methods in this tradition incorporate playing by ear in some form. For instance, "
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are commonly used in the genre they are performing but not in classical music. Examples of this are
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In most instances, traditions in which music is primarily learned by ear do not use
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Learning Sequences in Music: Skill, Content, and Patterns- A Music Learning Theory
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This article is about the musical concept. For the album by Preston Reed, see
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by Allan Jeong Professor of Instructional Systems & Learning Technology
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The concept of playing by ear has led to the development of the idiom to
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tradition has been based on the process of learning new pieces from
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and playing variations, and working around the limitations of
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The Imperfect Art: Reflections on Jazz and Modern Culture
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The Imperfect Art: Reflections on Jazz and Modern Culture
784: 346:, learning by ear is also used heavily in the genres of 691:"ITC Sangeet Research Academy - Indian Oral Tradition" 109:, play back on an instrument, sing, or describe using 124:
Audiation is a vital skill for playing music by ear.
143: 385:Since western musical notation was developed for 190:: the teaching methods of its two major strands ( 855: 617:GIML - The Gordon Institute for Music Learning 770: 456:"Play by ear - Idioms by the Free Dictionary" 745:from the Gordon Institute for Music Learning 331:or college music programs (including use of 716:"Notation - Afro-Cuban Percussion Workbook" 389:, musicians sometimes run into issues when 777: 763: 300:Learn how and when to remove this message 169: 40:they have heard, without having seen it 441: 856: 636: 186:One particularly prominent example is 758: 667:"Music as a language - Victor Wooten" 533: 504: 152:in any form. Some examples are early 749:Basic introduction to playing by ear 238:adding citations to reliable sources 209: 589:"Playing piano by ear - Pianoholic" 13: 564:"Ear Training: The Ultimate Guide" 431:Music education for young children 14: 880: 736: 327:" courses are a standard part of 214: 708: 683: 225:needs additional citations for 202:) are almost exclusively oral. 144:Existence in musical traditions 32:is the ability of a performing 659: 630: 605: 581: 556: 527: 498: 473: 448: 205: 1: 7: 404: 10: 885: 15: 796: 156:guitarists and pianists, 81: 743:Description of Audiation 380:western musical notation 36:to reproduce a piece of 869:American English idioms 540:Oxford University Press 511:Oxford University Press 314:Western classical music 637:Gordon, Edwin (1997). 395:percussion instruments 188:Indian classical music 183: 90:, musical perception, 811:Learning music by ear 460:thefreedictionary.com 173: 806:Interval recognition 442:Notes and references 234:improve this article 534:Gioia, Ted (1988). 505:Gioia, Ted (1988). 391:musical expressions 312:Historically, the 184: 851: 850: 310: 309: 302: 284: 876: 816:Music psychology 779: 772: 765: 756: 755: 730: 729: 727: 726: 720:sites.google.com 712: 706: 705: 703: 701: 687: 681: 680: 678: 677: 663: 657: 656: 643:GIA Publications 634: 628: 627: 625: 624: 609: 603: 602: 600: 599: 593:Pianoholic Music 585: 579: 578: 576: 575: 560: 554: 553: 531: 525: 524: 502: 496: 495: 493: 491: 477: 471: 470: 468: 466: 452: 426:Musical aptitude 399:Afro-Cuban music 318:musical notation 305: 298: 294: 291: 285: 283: 249:"Playing by ear" 242: 218: 210: 150:musical notation 107:musical notation 884: 883: 879: 878: 877: 875: 874: 873: 864:Music education 854: 853: 852: 847: 792: 783: 739: 734: 733: 724: 722: 714: 713: 709: 699: 697: 689: 688: 684: 675: 673: 665: 664: 660: 653: 635: 631: 622: 620: 611: 610: 606: 597: 595: 587: 586: 582: 573: 571: 562: 561: 557: 550: 532: 528: 521: 503: 499: 489: 487: 479: 478: 474: 464: 462: 454: 453: 449: 444: 407: 387:classical music 306: 295: 289: 286: 243: 241: 231: 219: 208: 181: 146: 84: 44:in any form of 30:learning by ear 23: 12: 11: 5: 882: 872: 871: 866: 849: 848: 846: 845: 840: 835: 834: 833: 823: 821:Relative pitch 818: 813: 808: 803: 797: 794: 793: 782: 781: 774: 767: 759: 753: 752: 746: 738: 737:External links 735: 732: 731: 707: 695:www.itcsra.org 682: 658: 651: 645:. p. 13. 629: 604: 580: 555: 548: 542:. p. 33. 526: 519: 513:. p. 31. 497: 472: 446: 445: 443: 440: 439: 438: 436:Absolute pitch 433: 428: 423: 418: 413: 406: 403: 308: 307: 222: 220: 213: 207: 204: 145: 142: 83: 80: 65:oral tradition 19:Playing by Ear 9: 6: 4: 3: 2: 881: 870: 867: 865: 862: 861: 859: 844: 841: 839: 836: 832: 829: 828: 827: 824: 822: 819: 817: 814: 812: 809: 807: 804: 802: 799: 798: 795: 791: 790:Sight-reading 787: 780: 775: 773: 768: 766: 761: 760: 757: 750: 747: 744: 741: 740: 721: 717: 711: 696: 692: 686: 672: 668: 662: 654: 648: 644: 640: 633: 618: 614: 608: 594: 590: 584: 569: 565: 559: 551: 549:9780195053432 545: 541: 537: 530: 522: 520:9780195053432 516: 512: 508: 501: 486: 482: 476: 461: 457: 451: 447: 437: 434: 432: 429: 427: 424: 422: 419: 417: 414: 412: 409: 408: 402: 400: 396: 392: 388: 383: 381: 377: 373: 369: 365: 361: 357: 353: 349: 345: 340: 338: 337:Suzuki method 334: 330: 326: 321: 319: 315: 304: 301: 293: 282: 279: 275: 272: 268: 265: 261: 258: 254: 251: â€“  250: 246: 245:Find sources: 239: 235: 229: 228: 223:This section 221: 217: 212: 211: 203: 201: 200: 195: 194: 189: 179: 178: 172: 168: 166: 162: 159: 155: 151: 141: 137: 135: 131: 127: 122: 120: 116: 112: 108: 103: 101: 97: 93: 89: 79: 77: 73: 68: 66: 60: 57: 54: 53: 52: 47: 43: 39: 35: 31: 27: 21: 20: 843:Tonal memory 810: 786:Ear training 723:. 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Index

Playing by Ear
musician
music
notated
sheet music
oral tradition
play by ear
ear training
tonal memory
audiation
music theory
musical notation
note names
solfège
transcribing
Edwin Gordon
thought
language
musical notation
Blues
Romani
fiddlers
folk music

Hindustani
Indian classical music
Hindustani
Carnatic

verification

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