A topic that often sparks debate among music teachers is whether singing should be a mandatory component in graded music exams, particularly in aural or listening tests. Many teachers have noticed that their students often feel apprehensive about this part of the exam. Interestingly, research in cognitive science, which studies thought, learning, and mental organization, suggests that such tests may not be the most effective way to assess what some exam boards refer to as the “musical ear” or “audiation” – the ability to mentally hear and understand music.
What is Audiation?
The term “audiation,” coined by music psychologist Edwin Gordon in 1975, is basically another way of describing what traditional exam boards refer to as the “musical ear.” It involves the process of mentally hearing and comprehending music, much like how we think in words.
Traditional boards like ABRSM suggest that “Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’.” A good suggestion for any curriculum for sure, but is it really the only way to assess a student’s aural skills?
While this is undoubtedly beneficial, it raises the question of whether it is the only way to assess a student’s aural skills.
In contrast, exam boards like RSL in their Rockschool and RSL Classical exams do not require singing. Instead, they ask candidates to identify whether a note is higher or lower in the early grades or to use their instrument to play back a melody they heard, offering an alternative assessment method.
Is Singing an Accurate Measure of Audiation?
A study conducted by Sean Hutchins and Isabelle Peretz in 2012 for the International Laboratory for Brain, Music, and Sound Research in Montréal found that only 5% of participants couldn’t accurately hear and match pitch using a specially created pitch slider. However, a larger proportion of participants, even those with accurate audiation using the slider, struggled to reproduce the pitches through singing.
These findings challenge the belief that singing proficiency directly correlates with audiation skills. They highlight the need for alternative assessment methods that more accurately measure audiation without solely relying on vocal performance. Such insights are crucial for refining music education and evaluation practices to better support students’ musical development.
Is singing for an assessment something achievable by everyone?
Returning to our topic, while singing is a skill that can improve with practice, some groups may find it especially difficult to accurately sing pitch despite training, including:
- people affected by allergies, asthma, hay fever, etc.
- individuals dealing with chronic or acute respiratory issues
- older adults with deteriorating voices
- adolescent boys experiencing voice changes
- individuals susceptible to situational anxiety
- some individuals with disabilities or muscle-related issues
- people with neurological conditions affecting vocal control
Does anyone genuinely believe that these groups lack audiation skills just because they struggle with singing? Yet, this seems to be what examination boards that rely on singing for aural assessment suggest! Moreover, in many cases, marks awarded for this part of the exam can make the difference between a Pass, Merit, or Distinction.
RSL’s Rockschool and RSL Classical grades replace these old-fashioned, traditional tests with playing by ear, introduced gradually and progressively. This innovative approach has practical relevance to instrument players beyond the exam room and does not involve singing.
Conclusion
While singing can undoubtedly enhance musical ear development, it may not always be the most dependable or inclusive method for evaluating it. Exam Boards like RSL that offer a more practical, flexible approach to aural testing provide a viable choice that better accommodates students who prefer not to sing or are unable to sing. RSL includes aural components tailored to the specific instruments and musical styles covered in the Rockschool and RSL Classical exams, allowing students to demonstrate their musical understanding without the need for vocal performance, much to the relief of learners and teachers alike!
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