Posner et al.’s chapter “Probing the Mechanisms of Attention” (2007) and other readings from outside of music, which Timothy Chenette speculatively applied to aural skills instruction in the chapter “Attentional Control: A Perceptual Fundamental” (2021). However, we have learned a lot from Michael I. Our understanding of attentional control and how it is affected by instruction is still very much incomplete. Jade Conlee’s presentation “Audiation, Musical Aptitude, and Racial Epistemology” (2021) and Elizabeth Monzingo’s presentation “Hidden Aural Skills: Implicit Learning through Experience” (2019) similarly helped us think about who aural skills classes are currently built for, and how we might think about new paths forward. Ewell’s article “Music Theory and the White Racial Frame” (2020) and Cora Palfy and Eric Gilson’s article “The Hidden Curriculum in the Music Theory Classroom” (2018). We have also been more obliquely influenced by the challenges to current instructional models in Philip A. Timothy Chenette’s article “What are the Truly Aural Skills?” (2021) helped us think through the various fundamentals required for students to acquire aural skills, and along with the article “Taking Aural Skills Beyond Sight Singing and Dictation” (2019) helped us think about how these skills relate to multiple fields of music study outside of music theory. We have also been influenced by Karpinski’s emphasis on the importance of context. ![]() ![]() This text is particularly helpful in understanding how complex skills like dictation and sight reading rely on component skills such as perception of key and meter. Gary Karpinski’s book Aural Skills Acquisition (2000) is foundational to current aural skills pedagogy. ![]() We will list here some of the research that has influenced how we approached this text, both as a way to thank the scholars who have been important to us and to invite curious musicians and pedagogues to further reading. While this textbook is inevitably shaped in part by its authors’ ideologies and experiences, it is also grounded in research in aural skills pedagogy.
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