English: Traditionally aural training is usually conducted by means of the piano, since the contents of the existing aural training syllabi require$ it. Extensive research has already been done in England on a new aural training approach, namely the development of aural awareness. The Associated Board of the Royal Schools of Music has been influenced by this research, and has since 1993 followed a new approach of aural awareness in their syllabus. The emphasis falls on an "aural awareness" instead of an "aural training" or a "memory training" approach. Important aspects which can be developed through aural awareness are for example, improvisation, awareness of tone colour, and intonation. In this dissertation the aural methods are examined on primary, secondary and tertiary levels. Various aural syllabi and aural methods accessible in England, Germany, France, Switzerland, Western-Australia and the USA are analysed and discussed in order to compare different aural training criteria and methods. A new world-wide tendency, Arts Education which represents the integration of the Arts, is included for discussion. The final aim of this thesis is to compile a new aural training programme pupils in for the development of aural awareness for instrumental group classes which will contribute to the music education of all instrumental pupils. The aural training programme and is divided accordingly programme can also be used implementation of it is more extends over a period of 10 years into Steps. The aural training in practical lessons, but the effective in group classes. The programme pupils to textures, is supported by a selection of recordings to enable distinguish between different styles, tone qualities, instruments, etcetera. The programme follows a holistic approach and introduces pupils to a complete composition (or one specific section of a composition) through listening, analysis and discussion. Through this method the conventional use of the piano for aural training is eliminated and the sound experience of pupils is broadened. Recordings for Steps 1 to 10 are included in this thesis. Examples taken from the four main style periods, the Baroque period, the Classical period, the Romantic period and the Twentieth century, are used in Steps 1 and 2 and Steps 9 and 10. Only one example of the different style periods is used in each of the remaining Steps (3 to 8), as the thesis would be too extensive if all style periods were included in Steps 3-8.
Afrikaans: Tradisionele gehooropleiding word gewoonlik deur middel van die
klavier afgeneem, aangesien bestaande gehoorsillabusinhoude dit
vereis. Omvangryke navorsing is reeds in Engeland oor 'n nuwe
gehooropleidingsbenadering gedoen, naamlik die ontwikkeling van
gehoorbewustheid ("aural awareness"). Die Associated Board of the
Royal Schools of Music volg reeds vanaf 1993 'n nuwe benadering
van gehoorbewustheid in hulle gehoorsillabusse wat voortspruit
uit hierdie navorsing. Die klem val nou eerder op 'n "gehoorbewustheids"-
benadering as op "gehooropleiding" of "geheueopleiding". Belangrike aspekte wat deur middel van gehoorbewustheid ontwikkel kan word, is onder andere improvisasie, klankkleurbewustheid en intonasie. In hierdie proefskrif word gehooropleidingsmetodes op primere,
sekondere en tersiere vlak ondersoek. Toeganklike gehoorsillabusse
en -metodes van Engeland, Duitsland, Frankryk, switserland, Wes-Australie en die VSA word ontleed en bespreek ten einde 'n
vergelykende studie betreffende gehooropleidingstandaarde en -metodes te doen. Kunste-opvoeding, 'n nuwe wereldtendens wat die
integrering van die Kunste voorstaan, word ook uitgelig vir
bespreking. Die finale doel van hierdie proefskrif is om 'n nuwe gehooropleidingsprogram saam te stel vir die ontwikkeling van gehoorbewustheid in groepsverband wat 'n bydrae sal !ewer tot die musiekopvoeding van alle instrumentale leerlinge. Die gehooropleidingsprogram strek oor 'n periode van 10 jaar en word volgens Trappe ingedeel. Hierdie program is wel ook geskik vir die individuele praktiese les, maar die aanwending daarvan is meer doeltreffend in groepsverband. Die program steun op die gebruik van 'n verskeidenheid klankopnames, waardeur leerlinge met verskillende style, klankkleure, teksture, instrumente, ensovoorts kennis maak. Die benadering is holisties van aard waar 'n komposisie in sy geheel (of een spesifieke seksie van 'n komposisie) aan die leerling voorgehou word vir beluistering, analise en bespreking. Deur hierdie metode word die uitsluitlike gebruik van die klavier vir gehooropleiding uitgeskakel, en leerlinge se klankbelewenis word verbreed.
