Recommended Reading
Perhaps the most important developmental study any musician can embark upon is that of training the ear. Music by its very provenance and history can be said to be an elusive, relative discipline. Indeed we know that pitch has evolved over the centuries to sit where it does today; it is generally agreed that 'A' is an 'A' at approximately 440 Hz per second. Having a good sense of general pitch is of course very useful to musicians of any age.
But I believe that it is the relationship between pitches that is especially significant in assisting a musician in reading, interpreting, and composing music. No matter what your musical medium or instrument- piano, flute, tuba, voice- the way in which one assesses the relationship between pitches makes all the difference in properly understanding the musical 'story' being told. Comprehension of the melodic and harmonic function of a pitch in relation to those before and after it can help a musician enjoy music on a much deeper level.
Such a musical comprehension is of course a normal, expected achievement for most professional musicians. But, understanding pitch relationships can start early on with students, and can be presented in a fun manner, for example through pieces of established music. The Kodaly Concept presents musicianship--that is, ear-training-largely through song. Kodaly believed that singing is the very essence of music-making, as vocally expressing tunes personalises them for the performer, allowing him or her to 'feel' the shape, intensity, and direction of a melody. Transferring these vocal expressions to another instrument then becomes a natural extension of a musician's creative ability.
Therefore, I advocate ear-training start at the earliest possible stage with young musicians, and in conjunction with their instrumental studies, so that they may begin to understand pitch relationships, and indeed to properly listen to, and enjoy, music.
