Frequently Asked Questions

What is audiation? Is it something new and esoteric?

The term audiation is relatively new, having been coined recently by Edwin E. Gordon. The general idea, however, is not new at all. To audiate means to think music in the mind. Good musicians of all cultures have audiated since the dawn of music. The power of Gordon’s word is that it provides a well defined way to think about essential cognitive musical processes, thereby clarifying the steps teachers should take to help students fully comprehend music.

What is the objective of Music Learning Theory?

MLT is specifically concerned with developing the ability to audiate the tonal and rhythm content of music.

Why is there is there so much attention focused on tonal and rhythm audiation?

First, the rhythmic and tonal realms constitute a very large portion of what makes music music. Further, the great depth and complexity of tonal and rhythm content necessitates a careful focus on sequence. Music learning theory provides a comprehensive and elegant approach to the many hierarchical levels of both content and skill.

Why are tonal and rhythm content taught separately, in isolation from each other and from other musical elements?

Tonal and rhythm content in music are challenging enough to teach in isolation. Their interaction with each other – to form melody, for example – and other musical elements significantly compounds the complexity of the music teaching task. By spending some instructional time focusing on each separately, clarity is enhanced and confusion minimized.

Does the focus on tonal and rhythm audiation mean that the other elements of music are ignored?

Not at all. MLT’s emphasis on tonal and rhythm is not meant to suggest that musical elements such as timbre, phrasing, expression and style are unimportant. The traditional model serves well for teaching these nonsyntactical musical elements, for which sequence is less important than it is for tonal and rhythm elements. A teacher who implements MLT for teaching tonal and rhythm skills is likely to approach the other musical elements in much the same way as any other capable music teacher.

How are tonal and rhythm audiation developed?

Tonal and rhythm pattern instruction – what Gordon calls learning sequence activities – is the “heart and soul” of music learning theory. Tonal patterns are taught in a context free of rhythm; likewise, rhythm patterns are chanted rather than sung.

How much time should be spent on pattern instruction?

Typically, five to eight minutes per class period. A common mistake made by music teachers trying to implement MLT is to spend too much time in learning sequence activities. Brief but intense episodes of pattern instruction, carefully sequenced over extended time periods, lead to optimal audiation development.

How is pattern instruction accomplished?

The general manner is call and response, with students echoing the teacher in specific ways determined by the various levels of skill outlined in Gordon’s theory. See the About Music Learning Theory section of this website for more detail.

What happens during the rest of the class or lesson?

The bulk of any music class – everything except the five to eight minutes of learning sequence activities – is spent in classroom activities.

What are the characteristics of classroom activities?

Whereas learning sequence activities involve the “parts” part of the Whole/Part/Whole MLT curriculum – that is, tonal and rhythm patterns – classroom activities involve musical wholes, namely, real music literature. In this sense, an MLT classroom looks like any other music class. The crucial difference is that the time spent in tonal and rhythm pattern instruction develops essential audiation skills that are otherwise likely to be left to chance. Students who have engaged in learning sequence activities are able to bring greater aural comprehension – and also more skills, such as improvisation – to the music literature they study during classroom activities.

Is Music Learning Theory a method or a curriculum?

Music Learning Theory is a theory of how children learn when they learn music.The teaching strategies and techniques derived from MLT comprise a comprehensive method for developing tonal and rhythm audiation. MLT prescribes an elegant sequence for achieving specific content and skill learning goals, as well as carefully devised teaching techniques for delivering instruction. How a teacher incorporates MLT into a given curriculum depends on numerous factors related to the type of curriculum and its long-term objectives.

What kinds of music teachers can use Music Learning Theory?

Music Learning Theory is relevant to every music teaching setting, both formal and informal. MLT has the power to enhance any lesson: band rehearsals, orchestra rehearsals, choir rehearsals, jazz band rehearsals, elementary general music class, Orff ensembles, private lessons, undergraduate aural skills, early childhood, and so on. All music teachers can use MLT to improve students’ aural comprehension of the music they sing, play, read, compose or improvise.

Why isn’t my child learning how to read music?

Your child will be learning how to read notation after he or she possesses the necessary readiness to learn to read with comprehension. The goal is to look at the notation and be able to audiate it (hear it in your head). Remember that knowing letter names of lines and spaces, or knowing which finger to push down, is not reading notation, just as knowing the letters of the alphabet is not reading language.

Should I begin teaching my child the names of the lines and spaces on the staff and the time value names of the notes?

Research indicates that we should not. Do not be in a hurry to have your child read notation. The more experience he has with music before reading notation, the faster and better he will learn to read notation.

What if my child can already read music?

We will simply explain to the child that the facts he has already learned about notation are valid and that we will simply be teaching him in a way that will not require reading skills for a while. There will be new challenges and new skills to learn before your child needs to read band music.

What can I do to help my child at home?

The most important provision you could make is that of encouragement. Set aside a good time and place for practice; let your child know you are interested and encourage her endeavors! Sing, chant, and play with your child. Be careful, however, to let her learn by ear. Don’t show your child everything. They must learn to teach themselves. Do not write down the songs in any way to help them “remember” or “memorize” the song. This may seem like a good idea to get quick results, but it will ultimately delay the development of musical independence, which is the goal.

Why isn't my child a playing a musical instrument every music class?

The general music class has evolved greatly over time. Movement, aural listening, critical thinking, and in depth reflection are now a big part of a child's every day musical experience. Your child will experience performing on a classroom instrument after he or she possesses the necessary readiness to perform such a task. The goal is to develop an internal musical understanding before adding an external stimulus. We want children to feel and audiate the music (hear it in your head) before performing on an instrument to elevate their musical experiences to a higher level.