Paul Fleet is a Senior Lecturer at Newcastle University (UK) with research expertise in music theory, analysis, and practice. Kent Cleland is Professor of Music Theory at the Baldwin Wallace University Conservatory of Music in Berea, Ohio (US).

• Overtue (Paul Fleet and Kent D. Cleland) / INTERMEZZO 1. Terrain / 1. The Terrain of Ear Training Across the Globe (Paul Fleet) / 2. Aural Training Within an Integrated Approach to Musicianship Training (Simon Parkin) / INTERMEZZO 2. Theory and Curriculum: Methodologies for the Learning Space / Development of Listening Skills / 3. The Seeing Ear: Toward a Rationale for Dictation (Gary S. Karpinski) / 4. Attentional Control: A Perceptual Fundamental (Timothy Chenette) / 5. Teaching Musical Analysis as an Aural Skill (Martin Scheuregger) / Development of Reading Skills / 6. Rethinking Integration in the Music Theory Curriculum (Jeffrey Lovell) / 7. The Sing-and-Play (Samantha M. Inman) / 8. Performing With Meaning: A Case Study in Aural Skills Curriculum Design Aimed at Improving Undergraduate-Performer Understanding of Pitch Function in Tonal Music (Christopher Atkinson) / INTERMEZZO 3. Teaching: Activities within the Learning Space / 9. The Keyboard, a Constant Companion (Justin Mariner and Peter Schubert) / 10. Pitch-Matching Issues in the Aural Skills Classroom (Jennifer Beavers and Susan Olson) / 11. Teaching Aural Awareness in Hong Kong Primary Schools: Use of Drama Exercises (Chi Ying Lam) / 12. A Good Pair of Ears: Conceiving of and Developing Aural Skills in Popular Music Education (Bryden Stillie and Zack Moir) / 13. The Tortoise and the Magic Tree: Strategies to Develop Comprehensive and Holistic Music Analytical Listening Skills Through the Use of ‘Ghost Scores’ (Anri Herbst) / 14. New Aural Pedagogy for the Twenty-First Century: Introducing a Course for Undergraduate Students at the Royal College of Music, London (Miranda Francis) / 15. The Watchmaker’s Screwdriver: Aural Competence (Christopher Price) / 16. The Nature of Aural Ability and Issues Relating to Its Assessment (Colin Wright) / INTERMEZZO 4. Transferring: Application outside of the Learning Space / 17. The Kodály Philosophy: Contemporary Interpretations and Practices (James Cuskelley) / 18. An Introduction to the Kodály Method: Credited by UNESCO (Robin Harrison) / 19. The Solfège of Émile Jaques-Dalcroze (John Robert Stevenson) / 20. Harmonic Schemas in Aural Skills Classes (Crystal Peebles) / 21. Bending to Real Music: Harmonic Hearing in the Aural Skills Classroom (Daniel B. Stevens, Philip Duker, and Jennifer Shafer) / 22. Musical Analysis and the (Re)Construction of a Habitus of Listening (Jorge Alexandre Costa) / INTERMEZZO 5. Techniques / Tonal / 23. Finding Common Ground in the Do-/La-Minor Solfège Debate (Nathan L. Lam) / 24. Teaching Improvisation: Starting Points (Jena Root) / 25. Understanding Melodic Dictation via Experimental Methods (David John Baker) / Post-Tonal / 26. Toward a New Pedagogy for Teaching the Reading of Atonal Melodies (Kent D. Cleland) / 27. Your Teacher Cares if You Listen! Helping Students Analyze 12-Tone Compositions Without a Score (Jenine Brown) / INTERMEZZO 6. Technology / 28. Technology Inside, Outside, and as the University Aural Skills Classroom (Nathan Fleshner and Trevor de Clercq) / 29. Audit: The Development of a Web-Based Practice Tool for Individual Note Recognition in Consonant and Dissonant Piano Chords (Jonathan Pitkin) / The Future of Aural Training / Coda. The Future of Aural Training: Clausula Vera (True Cadence) (Paul Fleet and Kent D. Cleland)

Paul Fleet is a Senior Lecturer at Newcastle University (UK) with research expertise in music theory, analysis, and practice. Kent Cleland is Professor of Music Theory at the Baldwin Wallace University Conservatory of Music in Berea, Ohio (US).

• Overtue (Paul Fleet and Kent D. Cleland) / INTERMEZZO 1. Terrain / 1. The Terrain of Ear Training Across the Globe (Paul Fleet) / 2. Aural Training Within an Integrated Approach to Musicianship Training (Simon Parkin) / INTERMEZZO 2. Theory and Curriculum: Methodologies for the Learning Space / Development of Listening Skills / 3. The Seeing Ear: Toward a Rationale for Dictation (Gary S. Karpinski) / 4. Attentional Control: A Perceptual Fundamental (Timothy Chenette) / 5. Teaching Musical Analysis as an Aural Skill (Martin Scheuregger) / Development of Reading Skills / 6. Rethinking Integration in the Music Theory Curriculum (Jeffrey Lovell) / 7. The Sing-and-Play (Samantha M. Inman) / 8. Performing With Meaning: A Case Study in Aural Skills Curriculum Design Aimed at Improving Undergraduate-Performer Understanding of Pitch Function in Tonal Music (Christopher Atkinson) / INTERMEZZO 3. Teaching: Activities within the Learning Space / 9. The Keyboard, a Constant Companion (Justin Mariner and Peter Schubert) / 10. Pitch-Matching Issues in the Aural Skills Classroom (Jennifer Beavers and Susan Olson) / 11. Teaching Aural Awareness in Hong Kong Primary Schools: Use of Drama Exercises (Chi Ying Lam) / 12. A Good Pair of Ears: Conceiving of and Developing Aural Skills in Popular Music Education (Bryden Stillie and Zack Moir) / 13. The Tortoise and the Magic Tree: Strategies to Develop Comprehensive and Holistic Music Analytical Listening Skills Through the Use of ‘Ghost Scores’ (Anri Herbst) / 14. New Aural Pedagogy for the Twenty-First Century: Introducing a Course for Undergraduate Students at the Royal College of Music, London (Miranda Francis) / 15. The Watchmaker’s Screwdriver: Aural Competence (Christopher Price) / 16. The Nature of Aural Ability and Issues Relating to Its Assessment (Colin Wright) / INTERMEZZO 4. Transferring: Application outside of the Learning Space / 17. The Kodály Philosophy: Contemporary Interpretations and Practices (James Cuskelley) / 18. An Introduction to the Kodály Method: Credited by UNESCO (Robin Harrison) / 19. The Solfège of Émile Jaques-Dalcroze (John Robert Stevenson) / 20. Harmonic Schemas in Aural Skills Classes (Crystal Peebles) / 21. Bending to Real Music: Harmonic Hearing in the Aural Skills Classroom (Daniel B. Stevens, Philip Duker, and Jennifer Shafer) / 22. Musical Analysis and the (Re)Construction of a Habitus of Listening (Jorge Alexandre Costa) / INTERMEZZO 5. Techniques / Tonal / 23. Finding Common Ground in the Do-/La-Minor Solfège Debate (Nathan L. Lam) / 24. Teaching Improvisation: Starting Points (Jena Root) / 25. Understanding Melodic Dictation via Experimental Methods (David John Baker) / Post-Tonal / 26. Toward a New Pedagogy for Teaching the Reading of Atonal Melodies (Kent D. Cleland) / 27. Your Teacher Cares if You Listen! Helping Students Analyze 12-Tone Compositions Without a Score (Jenine Brown) / INTERMEZZO 6. Technology / 28. Technology Inside, Outside, and as the University Aural Skills Classroom (Nathan Fleshner and Trevor de Clercq) / 29. Audit: The Development of a Web-Based Practice Tool for Individual Note Recognition in Consonant and Dissonant Piano Chords (Jonathan Pitkin) / The Future of Aural Training / Coda. The Future of Aural Training: Clausula Vera (True Cadence) (Paul Fleet and Kent D. Cleland)

Paul Fleet is a Senior Lecturer at Newcastle University (UK) with research expertise in music theory, analysis, and practice. Kent Cleland is Professor of Music Theory at the Baldwin Wallace University Conservatory of Music in Berea, Ohio (US).

• Overtue (Paul Fleet and Kent D. Cleland) / INTERMEZZO 1. Terrain / 1. The Terrain of Ear Training Across the Globe (Paul Fleet) / 2. Aural Training Within an Integrated Approach to Musicianship Training (Simon Parkin) / INTERMEZZO 2. Theory and Curriculum: Methodologies for the Learning Space / Development of Listening Skills / 3. The Seeing Ear: Toward a Rationale for Dictation (Gary S. Karpinski) / 4. Attentional Control: A Perceptual Fundamental (Timothy Chenette) / 5. Teaching Musical Analysis as an Aural Skill (Martin Scheuregger) / Development of Reading Skills / 6. Rethinking Integration in the Music Theory Curriculum (Jeffrey Lovell) / 7. The Sing-and-Play (Samantha M. Inman) / 8. Performing With Meaning: A Case Study in Aural Skills Curriculum Design Aimed at Improving Undergraduate-Performer Understanding of Pitch Function in Tonal Music (Christopher Atkinson) / INTERMEZZO 3. Teaching: Activities within the Learning Space / 9. The Keyboard, a Constant Companion (Justin Mariner and Peter Schubert) / 10. Pitch-Matching Issues in the Aural Skills Classroom (Jennifer Beavers and Susan Olson) / 11. Teaching Aural Awareness in Hong Kong Primary Schools: Use of Drama Exercises (Chi Ying Lam) / 12. A Good Pair of Ears: Conceiving of and Developing Aural Skills in Popular Music Education (Bryden Stillie and Zack Moir) / 13. The Tortoise and the Magic Tree: Strategies to Develop Comprehensive and Holistic Music Analytical Listening Skills Through the Use of ‘Ghost Scores’ (Anri Herbst) / 14. New Aural Pedagogy for the Twenty-First Century: Introducing a Course for Undergraduate Students at the Royal College of Music, London (Miranda Francis) / 15. The Watchmaker’s Screwdriver: Aural Competence (Christopher Price) / 16. The Nature of Aural Ability and Issues Relating to Its Assessment (Colin Wright) / INTERMEZZO 4. Transferring: Application outside of the Learning Space / 17. The Kodály Philosophy: Contemporary Interpretations and Practices (James Cuskelley) / 18. An Introduction to the Kodály Method: Credited by UNESCO (Robin Harrison) / 19. The Solfège of Émile Jaques-Dalcroze (John Robert Stevenson) / 20. Harmonic Schemas in Aural Skills Classes (Crystal Peebles) / 21. Bending to Real Music: Harmonic Hearing in the Aural Skills Classroom (Daniel B. Stevens, Philip Duker, and Jennifer Shafer) / 22. Musical Analysis and the (Re)Construction of a Habitus of Listening (Jorge Alexandre Costa) / INTERMEZZO 5. Techniques / Tonal / 23. Finding Common Ground in the Do-/La-Minor Solfège Debate (Nathan L. Lam) / 24. Teaching Improvisation: Starting Points (Jena Root) / 25. Understanding Melodic Dictation via Experimental Methods (David John Baker) / Post-Tonal / 26. Toward a New Pedagogy for Teaching the Reading of Atonal Melodies (Kent D. Cleland) / 27. Your Teacher Cares if You Listen! Helping Students Analyze 12-Tone Compositions Without a Score (Jenine Brown) / INTERMEZZO 6. Technology / 28. Technology Inside, Outside, and as the University Aural Skills Classroom (Nathan Fleshner and Trevor de Clercq) / 29. Audit: The Development of a Web-Based Practice Tool for Individual Note Recognition in Consonant and Dissonant Piano Chords (Jonathan Pitkin) / The Future of Aural Training / Coda. The Future of Aural Training: Clausula Vera (True Cadence) (Paul Fleet and Kent D. Cleland)