Implementing aural skills and theory into the private horn lesson: A discussion of common pedagogical tactics and integration into lesson plans

Abstract

This paper discusses the issue of college horn players’ difficulty to apply their theory and aural skills knowledge to their instrumental playing. This study will cover the skills needed by the horn player that they gain in these courses as well as an introspective look at the methods to teach these skills. Some of the issues found dealt with lack of research in the field of the correlation between the musicians’ aural skills and their horn playing as well as a lack of representation in theory and aural skills textbooks. This lack of information has led me to conduct my own research and combine it with my own teaching and playing experience to choose the best route for the student. After finding the best approaches, I have created flexible lesson plans along with teachers guides for the teacher to use in their private instruction. The goal of this project is to assist teachers by helping them forge strong theory and aural skills in their students which will likely help their performance accuracy as well as allowing them to play with informed musicality.

DMA Project 1 Solo Recital: Composer: Gordon Jacob Composition: Concerto for Horn and Strings

Composer: Franz Strauss Composition: Empfindungen am Meere (Romanze), Op. 12

Composer: Astor Piazzolla Composition: Libertango Arranger: Chihiro Todoroki

DMA Project 2 Solo Recital: Composer: Robert Schumann Composition: Adagio and Allegro, Op. 70 for Horn and Piano

Composer: Vincent Persichetti Composition: Parable for Horn, Op. 120

Composer: Alexander Goedicke Composition: Horn Concerto, Op. 40

DMA Project 3 Chamber Recital: Composer: August Klughardt Composition: Wind Quintet, Op. 79

Composer: Gabriel Musella Composition: Rio Grande Octets, mvt. II. Harlingen: Ronnie's Mambo

Composer: Victor Ewald Composition: Quintet no. 2, Op. 6

DMA Project 4 Presentation of Project Paper