What does it mean to have an ear for music. Types of ear for music - my dream is an international online music school. It doesn't matter at what age you start training your hearing

How many people feel inferior when it comes to music, saying, "I've got a bear in my ear." Most of the people got used to the idea that there is no hearing and there is no need. Although, before making such statements, it is worthwhile to initially find out what an ear for music is.

It is worth remembering that human abilities arise for a reason. Every ability of ours comes from a vital necessity. A man learned to walk on two legs because he needed to free his hands.

The situation is approximately the same with the ear for music. This function appeared when living beings needed to communicate using sounds. A person's ear for music developed along with speech. In order to learn to speak, we need to be able to distinguish sounds by strength, duration, pitch and timbre. Actually, it is this skill that people call ear for music.

Ear for music - a set of human abilities that allow him to fully perceive music and adequately assess one or another of its advantages and disadvantages; the most important professional quality required for a successful creative activity in the field of musical art: all professional composers, musicians, performers, sound engineers, and musicologists should have a well-developed ear for music.

The ear for music is dialectically related to the general musical talent of a person, which is expressed in a high degree of his emotional susceptibility to musical images, in the strength and brightness of the artistic impressions, semantic associations and psychological experiences caused by these images.

An ear for music presupposes a subtle psychophysiological sensitivity and pronounced psychoemotional responsiveness both in relation to various characteristics and qualities of discrete musical sounds (their height, volume, timbre, nuance, etc.), and to various functional connections between individual sounds in a holistic context. or otherwise piece of music.

Intensive study ear for music started from the 2nd floor. XIX century. G. Helmholtz and K. Stumpf gave a detailed idea of the work of the organ of hearing as an external analyzer of sound vibrational movements and of some of the features of the perception of musical sounds; thus they laid the foundation for psychophysiological acoustics. N. A. Rimsky-Korsakov and S. M. Maikapar were among the first in Russia in the late 19th - early 20th centuries. studied ear for music from a pedagogical position - as a basis for musical activities; they described various manifestations of the ear for music, began to develop a typology. In the late 40s. the important generalizing work of BM Teplov "The Psychology of Musical Abilities" appeared, where for the first time a holistic idea of ear for music from the standpoint of psychology was given.

Various aspects, properties and manifestations of musical ear are studied by such specialized scientific disciplines as musical psychology, musical acoustics, psychoacoustics, psychophysiology of hearing, neuropsychology of perception.

Varieties of ear for music

Among the many varieties of ear for music, distinguished for one reason or another, the following should be noted:

absolute pitch - the ability to determine the absolute pitch of musical sounds without comparing them with reference sounds, the pitch of which is already known from the beginning; the psychophysiological basis of absolute hearing is a special type of long-term memory for the pitch and timbre of a sound; this type of hearing is congenital and, according to scientific data, cannot be acquired with the help of any special exercises, although research in this direction continues; for successful professional (any musical) activity, the presence of absolute hearing does not give any significant advantages to its owners; according to statistics, one person out of ten thousand has perfect pitch, and among professional musicians, about one out of several dozen has perfect pitch;

relative (or interval) hearing - the ability to determine and reproduce pitch ratios in musical intervals, in melody, in chords, etc., while the pitch is determined by comparing it with a reference sound (for example, for professional violinists, such a reference sound is finely tuned "A" note of the first octave, the tuning fork frequency of which is 440 Hz); all professional musicians should have a relatively well developed relative ear;

internal hearing - the ability to clearly visualize (most often - from a musical notation or from memory) of individual sounds, melodic and harmonic constructions, as well as finished pieces of music; this type of hearing is associated with a person's ability to hear and experience music “to himself,” that is, without any reliance on external sound;

intonation hearing - the ability to hear the expression (expressiveness) of music, to reveal the communicative connections inherent in it; intonation hearing is subdivided into pitch (allowing to determine musical sounds in relation to their absolute pitch scale, thereby providing musicians with "accuracy of hitting the desired tone"), and melodic, providing a holistic perception of the entire melody, and not just its individual sound intervals;

harmonic hearing - the ability to hear harmonic consonances - chord combinations of sounds and their sequences, as well as reproduce them in expanded form (arpeggiate) - with a voice, or in any musical instrument... In practice, this can be expressed, for example, in the selection by ear of an accompaniment to a given melody or singing in a polyphonic choir, which is feasible even if the performer does not have training in the field of elementary music theory;

modal hearing - the ability to feel (distinguish, define) modal-tonal functions (characterized by such concepts as "stability", "instability", "tension", "resolution", "discharge") of each individual sound (musical note) in the context of that or any other musical composition;

polyphonic ear - the ability to hear the simultaneous movement of two or more separate voices in the general sound fabric of a piece of music;

rhythmic hearing - the ability to actively (motor) experience music, feel the emotional expressiveness of a musical rhythm and reproduce it accurately;

timbre hearing - the ability to color-sensitively feel the timbre coloration of individual sounds and various sound combinations;

textured ear - the ability to perceive all the subtlest nuances of the finishing texture of a musical work;

architectonic ear - the ability to capture various patterns of the structure of the musical form of a work at all its levels, etc.

Development of ear for music

A special musical and pedagogical discipline - solfeggio - deals with the development of ear for music most directly. However, ear for music develops most effectively in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic hearing, including through special movements, breathing exercises and dance.

The development of children's ear for music has a very important aesthetic and educational value. But in a number of cases, even children with good musical abilities do not show a great desire to develop their musical ear according to special educational programs. The task of parents and teachers in such cases is to provide musically gifted children with appropriate conditions and opportunities for the development of their musical ear in some freer mode and in some more relaxed creative atmosphere.

Currently, several computer programs have already been created that are intended for self-study on the development of musical ear.

Ear for Music: Myths and Reality.

At different ages, people hear music in different ways. This is true. A child is able to distinguish sound with a frequency of up to 30,000 vibrations per second, but in a teenager (up to twenty years old) this figure is 20,000 vibrations per second, and by the age of sixty it decreases to 12,000 vibrations per second. A good music center delivers a signal with a frequency of up to 25,000 vibrations per second. That is, people over sixty will no longer be able to appreciate all its advantages, they simply will not hear the full breadth of the range of sounds.

It doesn't matter at what age you start training your hearing. Wrong. American researchers have found that the largest percentage of people with perfect pitch is observed in those who began to study music between 4 and 5 years of age. And among those who began to study music after 8 years, people with perfect pitch are almost never found.

Men and women hear music the same way. In fact, women hear better than men. The range of frequencies perceived by the female ear is much wider than that of men. They more accurately perceive high sounds, better distinguish tonalities, intonations. In addition, women's hearing does not dull until the age of 38, while for men this process begins as early as 32.

The presence of an ear for music does not depend on the language in which a person speaks. Wrong. This was proved by a researcher from the University of California, comparing data from 115 American and 88 Chinese music students. Chinese is tonal. This is the name of a group of languages in which, depending on intonation, the same word can acquire several (up to ten) meanings. English- not tonal. The subjects studied absolute pitch. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. The absolute pitch test was passed by 60% of Chinese and only 14% of Americans. The researcher explained this by the fact that Chinese is more melodic, and the Chinese from birth get used to distinguish more sound frequencies. Thus, if a person's language is musical, he is most likely to have an absolute ear for music.

A melody, heard at least once, is stored in our brain all our life. This is true. American scientists have discovered an area of the cerebral cortex responsible for musical memories. This is the same auditory cortex that is responsible for the perception of music. It turns out that it is enough for us to hear at least once a melody or song, as it is already stored in this auditory zone. After that, even if we do not hear the melody or song we have listened to, the auditory zone is still able to extract it from its "archives" and play it "from memory" in our brain. The only question is how deeply this melody is hidden. Favorite and often heard songs are stored in short-term memory. And melodies, heard long ago or rarely heard, are deposited in the "closets" of long-term memory. Nevertheless, some event or sound sequence can unexpectedly force our memory to extract these forgotten melodies from their "bins" and play them in our brain.

The ear for music is inherited. This opinion has been around for a long time and is widespread. But only recently have scientists been able to scientifically substantiate it. The researchers found that in people without musical hearing, the inferior frontal gyrus of the right hemisphere contains less white matter than those who perceive and reproduce melodies well. It is possible that this physiological feature is genetically determined.

Animals have no ear for music. They just hear music differently. Animals perceive much more sound frequencies. And if people are able to catch up to 30,000 vibrations per second, then dogs, for example, register sound having a frequency of 50,000 to 100,000 vibrations per second, that is, they even pick up ultrasound. Although animals are characterized by a sense of tact, our pets cannot perceive the melody. That is, they do not combine chord combinations of sounds into a specific sequence called a melody. Animals perceive music only as a set of sounds, and some of them are regarded as signals of the animal world.

An ear for music is an ability that is given from above and which cannot be developed. Wrong. Those who entered a music school probably remember that they were asked not only to sing, but also to tap a melody (for example, with a pencil on the tabletop). The explanation is simple. The teachers wanted to assess the incoming sense of tact. It turns out that it is the sense of tact that is given (or not given) to us from birth, and it is impossible to develop it. And if a person does not have it, then music teachers will not be able to teach him anything. By the way, the percentage of people who lack a sense of tact is very small. But everything else can be taught, including the ear for music, there would be a desire.

An ear for music is rare. Wrong. In fact, anyone who can speak and perceive speech has it. Indeed, in order to speak, we must distinguish sounds by pitch, volume, timbre and intonation. It is these skills that are included in the concept of ear for music. That is, almost all people have an ear for music. The only question is, what kind of musical ear do they have? Absolute or internal? The highest stage of development of an ear for music is absolute pitch. It is revealed only as a result of practicing music (playing a musical instrument). For a long time it was believed that it does not lend itself to development, but now methods of developing absolute hearing are known. The lowest level of hearing development is internal hearing, uncoordinated with the voice. A person with such hearing can distinguish melodies, reproduce them from memory, but not sing. Deafness for music is called the clinical level of hearing development. Only 5% of people have it.

Those with an ear for music can sing well. This is true, but only partially. To sing well, it is not enough to have an ear for music. You also need to be able to control your voice, vocal cords. And this is a skill that is acquired in the learning process. Almost everyone can hear falsity in singing, but by no means everyone can sing cleanly themselves. Moreover, it often seems to those who sing that they are singing without falsehood, but those around them can see all their mistakes. This is explained by the fact that each person listens to himself with his inner ear and as a result hears something quite different from what others hear. So a novice performer may well be oblivious to the fact that he is not hitting the notes. In fact, in order to sing well, it is enough to have only a harmonic ear. This level of development of hearing is considered one of the lowest. This is the name given to the ability to hear a melody and reproduce it with a voice. And nevertheless, its development is possible even with the initial absence of such an ability.

If you really love music and want to learn it, you shouldn't get complex due to a lack of hearing. How capable you are of music will only be shown by practicing it. Make music, and achieve results in this, 95% of people can. Moreover, the more you engage in music, the more your ear for music will develop. Up to the absolute - there are no limits to perfection. The main thing is to have a desire and not to doubt your abilities!

Ear for music is a set of abilities necessary for composing, performing and actively comprehending music. Ear for music implies a high subtlety of perception of both individual musical elements or qualities of musical sounds (pitch, volume, timbre), and functional connections between them in a piece of music (modal feeling, sense of rhythm).
Among the various types of ear for music, distinguished by different characteristics, the most important are:
absolute pitch - the ability to determine the absolute pitch of musical sounds without comparing them with the standard;
relative hearing - the ability to determine and reproduce pitch relationships in melody, chords, intervals, etc .;
internal hearing - the ability to clearly visualize (for example, from musical notation or from memory) of individual sounds, melodic and harmonious constructions, whole pieces of music;
intonational hearing - the ability to hear the expression of music, to reveal the communication structures inherent in it.
A special discipline is engaged in the development of musical ear - solfeggio, however, the ear for music is actively developing primarily in the process of musical activity.

The presence of an ear for music does not depend on the language in which a person speaks. Wrong. This was proved by a researcher from the University of California, comparing data from 115 American and 88 Chinese music students. Chinese is tonal. This is the name of a group of languages in which, depending on intonation, the same word can acquire several (up to ten) meanings. English is not tonal. The subjects studied absolute pitch. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. The absolute pitch test was passed by 60% of Chinese and only 14% of Americans. The researcher explained this by the fact that the Chinese language is more melodic, and the Chinese are accustomed from birth to distinguish a greater number of sound frequencies. Thus, if a person's language is musical, he is most likely to have an absolute ear for music.

It's safe to say that a good ear is the only ability that allows you to become a musician.

Without this there can be nothing.

Of course, it is possible to teach a person without a musical ear to play a musical instrument, but his playing will most likely resemble the actions of a robot performing a set program and unable to deviate from it.

When people talk about musicality, they always mean a well-developed ear for music, even if this idea is not voiced.

I think there are many questions related to ear for music, but the most important are the following:

What is meant by a good ear for music?
What are the criteria for its definition?
How to develop an ear for music?

Let's start by defining how the ear for music differs from ordinary hearing.

Ear for music- a set of abilities necessary for composing, performing and actively comprehending music. An ear for music, first of all, relies on knowledge and on the assimilated system of symbols. For example, everyone can sing the melody of the song “A Christmas tree was born in the forest”, but not everyone can name the notes that make it up.

On the other hand, if your head has a strong connection between the first intonation of this song and the fact that it is an interval of a large sixth, then when you hear this intonation in any piece of music. You know this is a big sixth interval and you can play it on the instrument.

In this case, the work of the ear is to memorize certain musical structures and endow them with a semantic load.

As you can see, the development of hearing is the application of certain knowledge in practice, combined with the development of auditory memory.

Lack of understanding of how to relate auditory experience to hearing development can lead people to believe that they are deaf.

However, there are practically no people without hearing. Most of the problems are associated with poor-quality training in the basics, in music schools and other educational institutions.

There are many categories of ear for music. The most important are:

Perfect pitch- the ability to determine the absolute pitch of musical sounds without comparing them with the standard. This implies that when you hear any note, you can name it.

It is subdivided into passive (a small percentage of notes definition, limited use) and active.

Relative hearing- the most important for any musician - is defined as the ability to determine and reproduce pitch relations in a melody, intervals, etc .;

Internal hearing- the ability for a clear mental representation (for example, from musical notation or from memory) of individual sounds, melodic and harmonious constructions, whole pieces of music; very important when teaching improvisation.

Harmonic hearing- the ability to hear harmonic consonances - chord combinations of sounds and their sequences and reproduce them in a voice unfolded or on a musical instrument. In practice, this can be expressed, for example, in the selection by ear to the melody, even without knowing the notes or singing in a polyphonic choir.

Polyphonic hearing- the ability to listen to all voices in a polyphonic piece.

Polyrhythmic hearing- the ability to hear rhythmic figures sounding in different sizes and the ability to reproduce these rhythms.

There are several main ways to develop hearing:

Solfegging

Solfeging (that is, practice) involves singing intervals, chords, scales, modes, melodies. This practice reinforces the connection between hearing and the written note, and solfeging forms a specific auditory system.

For example, singing major scale You assimilate its structure, sound, and gradually it becomes natural and habitual for you, and you will perceive any deviation as an inconvenience. Thus, on the one hand, your hearing develops, on the other hand, until you master it, something else will be inaccessible to your perception. This problem can arise, for example, when listening to atonal music.

2. Musical dictation

The process is somewhat opposite to solfeeding. Here you, relying on the knowledge you have already acquired, write down the melody played by the teacher. For this, various techniques are used (finding stable grades of tonality in melodies, recognizing intervals, determining cadences, etc.).

Also, musical dictation contributes to the development of musical memory.

3. Transcribing (from the English transcribing rewriting) or picking- selection by ear or on the instrument and recording on
notes of a piece.

This can be both taking off your instrument and other instruments, and even writing a whole score.

There are various techniques used by transcribers to speed up the process of transferring sounding music to paper (slowing down the recording, tables, analysis, etc.).

4. Auditory analysis- Definition by ear of intervals, chords, chord sequences, rhythmic figures, etc.

Also for the development of hearing, you can use various specialized programs(for example, Ear Trainer).

Thus, the criterion for good hearing is the ability to hear and reproduce various elementary structural elements, the ability to record the melody heard by the notes, the ability to anticipate a certain sound, the ability to hear music with the eyes, etc.

Ear for music is the ability to distinguish with the mind the sounds by their color, height, volume and duration. An ear for music, in general, like a sense of rhythm, can be developed, and there are many types of hearing (more precisely, its facets, sides), and each is more or less important in its own way.

Musical and non-musical sounds

The sounds in the world around us are just a sea, but musical sound Is not every sound. This is only the sound for which it is possible to define and the height(it depends on the vibration frequency of the physical body that is the source of the sound), and timbre(richness, brightness, saturation, coloration of the sound), and volume(the loudness depends on the amplitude of the oscillations of the source - the stronger the initial impulse, the louder the sound at the input will turn out).

And here non-musical sounds are called noise, for them we can determine both the loudness and the duration, and often the timbre, but we can not always accurately determine their height.

Why was this preamble needed? And to confirm that the ear for music is an instrument of an already trained musician. And for those who refuse to make music under the pretext of hearing loss and being raped by a bear, we say directly: ear for music is not a scarce commodity, it is distributed to everyone who wants it!

Types of ear for music

The question of ear for music is rather subtle. Any kind of ear for music is in some sense associated with a certain psychological process or phenomenon (for example, with memory, thinking or imagination).

In order not to strongly theorize and not fall into banal and controversial classifications, we will simply try to characterize several common in musical environment concepts related to this issue. These are just some types of ear for music.

Perfect pitch - this is a memory for the key (exact pitch), this is the ability to determine a note (tone) by its sound, or, conversely, to play a note from memory without additional tuning with a tuning fork or some instrument, as well as without comparisons with other known pitches. Absolute pitch is a special phenomenon of human sound memory (by analogy, for example, with visual photographic memory). For a person with this kind of ear for music, recognizing a note is the same as for anyone else just hearing and recognizing an ordinary letter of the alphabet.

In principle, a musician does not really need perfect pitch, although it helps not to out of tune: for example, to play the violin without mistakes. This quality also helps vocalists (although it does not make the owner of absolute pitch a vocalist): it helps to develop the accuracy of intonation, and also helps to keep the part during ensemble polyphonic singing, although the actual singing only from “hearing” will not become more expressive (qualitative).

The absolute form of hearing cannot be artificially acquired, since this quality is innate, but it is possible to develop an identical all-hearing through training (sooner or later, almost all "practicing" musicians come to this state).

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Relative hearing - this is a professional ear for music, which allows you to hear and define any musical element or the entire work as a whole, but only in relation to (that is, in comparison) the pitch it represents. It is not associated with memory, but with thinking. Key points there could be two here:

in tonal music, this is the feeling of harmony: the ability to navigate within the harmony helps to hear everything that happens in music - the sequence, their logical relationship, their connection in harmony, deviation and departure from the original tonality;
in atonal music, it is the hearing of intervals: the ability to hear and distinguish between intervals (the distance from one sound to another) allows you to accurately repeat or reproduce any sequence of sounds.

Relative hearing is a very powerful and perfect instrument for a musician; it allows you to do a lot. Its only weakness is only an approximate guessing of the exact pitch: for example, I hear and can play a song, but in a different key (often just more convenient for intonation - it depends on the instrument or instrument you play).

Absolute and relative pitch are not opposites. They can complement each other. If a person has absolute pitch, but does not practice his own relative pitch, he will not become a musician, while a professionally developed relative pitch, as an educated type of thinking, allows any person to develop musicality.

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Internal hearing - the ability to hear music in the imagination. Seeing the notes on the sheet, the musician can play the entire melody in his head. Well, or not just a melody - apart from it, he will complete harmony, orchestration (if the musician is advanced), and anything else in his imagination.

Novice musicians very often need to play a melody in order to familiarize themselves with it, more advanced musicians can sing it, but people with good inner hearing simply imagine sounds.

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There are more types of ear for music, each of them helps the musician in his general musical activity or in a more specialized field. For example, the most powerful tools of composers are such types of hearing as polyphonic, orchestral and rhythmic.

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"Musical eye" and "musical scent"!

THIS IS A HUMORICAL BLOCK... Here we decided to place a comic section of our post. How interesting and rich in impressions our life, life is modern man…

Radio workers, DJs, as well as lovers of fashionable music, and pop artists, in addition to the hearing that they use to enjoy music, also need such a professional quality as "Musical scent"! How to find out about new items without it? How do you determine what the audience likes? You always have to sniff out these things!

About "Musical eye" think of something yourself!

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THE END... With the accumulation of musical and practical experience, the ear develops. Purposeful development of hearing, comprehension of the foundations and difficulties occurs in a cycle of special courses in music educational institutions. These are rhythm, polyphony and orchestration.

31.08.2013 14:51

Ear for music- the concept is multi-layered and quite complex. This is a set of human abilities that allow him to fully perceive music and objectively evaluate it. An ear for music is a very important quality necessary for successful creative activity in the field of musical art.

Ear for music is associated with sensitivity to musical images, emerging impressions, associations and psychological experiences.

Thus, people with an ear for music are sensitive and emotionally responsive:

To the characteristics and qualities of musical sounds (their height, volume, timbre, etc.);
- to functional connections between individual sounds in the context of a piece of music as a whole.

According to these criteria, various types of ear for music:

1. Inner hearing

This is the ability to mentally accurately represent a piece of music, a melody and individual sounds, to "hear" them in the head.

Remember brilliant Beethoven, who, having lost his hearing at the end of his life, continued to write musical works, perceiving their sound only with his inner ear.

2. Absolute pitch

This is the ability to identify any musical note without comparing it with other sounds, the pitch of which is known in advance. In the presence of absolute hearing, a person has a special memory for the exact pitch of the musical tones(the vibration frequency of the sound wave).

It is believed that this type of hearing is congenital, although research in this direction is ongoing. However, the presence of absolute hearing does not provide any significant advantages. :)

3. Relative or interval hearing

It is the ability to determine the pitch of musical sounds by comparing them with those already known.

The level of development of relative hearing can be so high that it becomes similar to absolute. Most successful musicians have only well-developed interval hearing. It is believed that having relative pitch is better and more convenient than absolute pitch. Therefore, dare and exercise!

4. Aural hearing

It is the ability to hear sounds that differ in pitch or not, even with the slightest difference. On the Internet, you can easily find tests where you need to determine whether the second sound is higher or lower, and, thus, find out how developed your pitch hearing is.

First you need to learn to hear the difference between two adjacent semitones... On a piano keyboard, half the tone is adjacent keys. And then you can improve further.

5. Melodic hearing

This is the ability to hear the movement of a melody, that is, how the pitch of sounds changes as the melody sounds. Such hearing provides a holistic perception of the entire melody, and not just its individual sound intervals.

The melody can "stand still", "move up or down", as the musicians say, by steps... She can "jump" in large and small jumps. While doing solfeggio, you can learn the names and learn to hear ALL the existing "leaps-distances" between sounds - intervals.

Pitch and melodic rumors are combined into intonation hearing - the ability to feel the expressiveness of music, its expression, intonation.

6. Metrhythmic hearing

This is the ability to distinguish the duration of the sounding of sounds in their sequence ( rhythm), their strength and weakness ( meter), and also feel changes in the speed of music sound ( pace). It is also the ability to actively, motorically experience music, to feel the emotional expressiveness of a musical rhythm.

7. Harmonious hearing

This is the ability to hear harmonic consonances- two or more sounds sounding simultaneously and the ability to distinguish sequences of such consonances.

It can be divided into interval(sounding 2 sounds) and chordal(sounding 3 or more sounds). To have such a hearing means to hear how many sounds are sounding at the same time, what specific sounds they are, and at what distance these sounds are from each other.

In practice, harmonic hearing is useful for matching the accompaniment by ear to a given melody. This ear must be well developed in choral conductors. Note that harmonic hearing is closely related to modal hearing.

8. Lovable hearing

This is the ability to hear and feel the relationship between sounds - modal-tone functions- in the context of a particular musical composition. They are characterized by concepts such as: sustainability and instability, voltage and permission, gravitation, discharge every single note.

Major and minor- the main modes, the basis of European music. But there are many other structures of scales, in which a different organization of melodies operates.

9. Polyphonic hearing

This is the ability to hear and imagine in the mind the movement of two or more melody-voices within the general sound fabric of a piece of music.

These voices may not move synchronously, enter and disappear in different time, catch up with each other or be late with the introduction (for example, canon, echoes, fugue). But they sound at the same time. That is why polyphonic ear is one of the most difficult types of ear for music.

Remember famous story? Mozart, when he was 14 years old, heard a performance of Miserere in Sistine Chapel... He memorized this complex polyphony by ear and recorded it exactly from memory, although the notes of the piece were kept in the strictest confidence. So much for the musical "hacker"!

10. Timbre hearing

This is the ability to coloristically distinguish the timbre of the sound of voices and instruments, individual sounds and various sound combinations. This hearing is usually well developed in orchestral conductors and sound engineers. :)

By timbres, sounds of the same pitch and volume are distinguished from each other, but performed on different instruments, in different voices, or on one instrument, but with different techniques of playing. When perceiving timbres, various associations usually arise, comparable to sensations from objects and phenomena. The timbre of the sound can be bright, soft, warm, cold, deep, sharp, rich, metallic, etc. Purely auditory definitions are also used: for example, voiced, deaf, nasal.

11. Dynamic hearing

This is the ability to determine the loudness of the sound and its changes. It depends very much on the level of perception of your hearing as a whole.

In the sound sequence, each subsequent sound can be louder or quieter than the previous one, giving the work emotional coloring... Dynamic hearing helps to determine where the music "rises" ( crescendo), "dies down" ( diminuendo), "moves in waves", makes a sharp emphasis, and so on.

12. Textured hearing

It is the skill of perceiving the manner of technical and artistic processing a piece of music - his textures.

For example, the texture of the accompaniment is also different: from a simple "um-tsa, um-tsa" (alternation of bass and chord) to beautiful overflows arpeggio- decomposed chords. Another example, blues and rock'n'roll have one harmonic basis, but the type of texture, as well as the choice of instruments, are different. Textured ear should be well developed among composers and arrangers.

13. Architectural hearing

This is a sense of the form of a piece of music, the ability to determine the various patterns of its structure at all levels. With the help of an architectonic ear, one can catch how motives, phrases, sentences are put together in one form, like a building is made up of bricks, slabs and blocks.

All these types of ear for music every person has, but not all are developed equally well. Of course, completely deny the level of natural data in the matter of development varieties of ear for music it is forbidden. BUT anyone can achieve the highest results in this direction with regular targeted training sessions for the development of hearing.

A special musical theoretical discipline - solfeggio or music theory - deals with the development of ear for music. However, most effectively all types of ear for music develops in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic hearing through special movements, breathing exercises and dance.

In the next article we will analyze what they mean when they say, "Do I have an ear for music?"

If you want to study more deeply and thoroughly the phenomenon of musical ear, as well as learn about your hearing abilities, then you have a direct road to regular classes or consultation! The most convenient way is to go straight from home to an online lesson :)