Analisi all’ascolto: un percorso
Proceeding from the pedagogical experience of Ear Training academic courses, the article outlines an itinerary for improving aural analytical skills and aims to show the possible contribution of analytic listening to general musical analysis. e article deals mainly with repertoires containing speci c elements (structures and schemata) originally intended to be recognized by the audience: this means in particular galant-classic and pop repertoire. The repertoires are firstly approached within a sonorial and textural pro le, arranging the elements of a piece (sca ered sounds, melodic lines, harmonic background etc.) on a continuum between fusion and segregation, as the result of a set of factors. Secondly, taking into account the development of a musical work over time, temporal and directional qualities of a piece are considered. The aim of the third part of the article is to discover the aforementioned structures and schemata that are intended to be recognized by a listener: the wide range of musical topics, galant schemata, classic phraseological models, genres and harmonic structures of pop music and so on. Finally, the author suggests a guide for the aural analysis of the sonata exposition, based on its outstanding perceptual elements rather than an abstract formal schema.