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I don't have a musical ear! What does this mean and how to deal with it? What is an ear for music What does it mean to have an ear for music.

I don't have a musical ear! What does this mean and how to deal with it? What is an ear for music What does it mean to have an ear for music.

17.06.2019

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It is believed that an ear for music is a gift that a person receives at birth. Therefore, selected people become vocalists. The rest is left singing under karaoke, false notes and missing the tempo. Practice shows that a person is able to pump any skill. How gymnasts develop flexibility, and how athletes develop endurance. The same is true with hearing. Constant training will give results, and you will sound clean and beautiful. How to develop an ear for music?

Why develop an ear for music?

If you decide to connect life with music, then you cannot do without hearing development. It is needed by vocalists, singers, sound engineers, producers and professionals related to the music industry. Musicians interpret the state when a person does not hit the notes. It is the lack of connection between hearing and sound. In other words, a person hears notes, understands the sound of a melody, but when it comes to vocals, he gives out false singing.

Musicians do not have a question, why develop an ear for music? But vocal lovers, people who see themselves on stage or gifted by nature, think about this dilemma. There is no limit to perfection. Even if the initial data are laid down by nature.

People with poor hearing and dreaming of singing, with such indicators, put an end to the dream, without thinking about developing skills. If a child dreams of a stage, then support him. Sign up for a music school first. Improving musical ear is useful for children, helps in learning foreign languages.

The music school passed in childhood is a good basis for improving hearing. But, you can get by with home exercises. The frequency of training and a clear program are important here. If you want a faster result, then hire a tutor who will give private solfeggio lessons.

How to develop an ear for music yourself? Take a look at the following exercises:

You will need a musical instrument to play music. First, press the keys in a row from the note “do” to “si”. Listen to the sound of the keys and sing the scales. First up, then down. If it's fake, then start over. To fix the result and feel the sound of the notes, do the exercise several dozen times (20-30 repetitions).
Choose the music you like. Choose melodic songs. Rap and rock will not work, because such works are far from melodious. Next, turn on the song, listen to a short segment and stop the track. Try to completely repeat the song, hitting the notes. If in doubt, listen to the passage again. Work on the echo by listening to the song until the end.
Take a musical instrument to play notes. Your task is to listen and sing the intervals. This lesson effectively helps to develop musical ear. Take any note and connect it to the next one. For example, "do" - "re" and so on until the note "si". Listen to sounds, then play them. Repeat the exercise several times, playing the musical combination up and down.

Choose a note from the musical range and “sing” it from all sides. To do this, build the following combination. First, take the base note, then raise it one tone up. Then return to the starting position and take the direction to the lower semitone. End the "singing" with the base note. In practice, it looks like this: “do-re-do-si-do”. Continue the exercise with each note, "singing" at the syllable "la".

This program is designed for beginners. The task of the exercises is to consolidate the skills and bring the skills to automatism. As soon as you feel that you are confidently performing the described exercises, then expand the number of notes. Activate two keys, pointing them in each direction. Take the bottom "to", lower it down, then from the top "to" you lead up.

The above exercises are difficult to perform all together. Try each one first, then choose the easiest. Practice exercises to perfection, then gradually add new ones. Combine different methods to achieve the desired result.

Increase your knowledge. If you have not come across music and do not have a professional education, then start by studying musical notation. Find courses and useful materials on the Internet. They will help not to memorize notes, but to understand the basic principles. Music notation is a special language in which musicians communicate. You will be able to read sheet music.

. A similar desire appears with a deep study of music. If until this moment the classics are not a frequent guest in your house, then change the situation. Turn on the works regularly, while cleaning, resting, reading a book. Let it sound unobtrusive background. Over time, you will notice how you begin to sing along and play the right notes. Interestingly, complex chords learn faster in well-known compositions. Therefore, develop by looking for new pieces of music.
Pure singing is impossible without musical memory. After listening to a melody several times, you should remember it and reproduce it without difficulty. Find programs to improve your hearing and memorize notes. It is convenient that the courses are installed on the tablet and mobile phone. Daily practice gives good results. Listen to lessons at lunchtime, or commute to class or work.
Sign up for the choir. Hone your skills right away in practice. Now there are many organizations involved in choral singing. Choose a circle of interests: performing folk or pop songs. Attending classes, you will feel what points you need to tighten up, consult with the teacher. If necessary, take private lessons.

Being engaged in the development of hearing at home, prepare mentally. Self-study requires twice as much effort and patience. At first, mistakes and disappointments are not ruled out. Most importantly, do not deceive yourself, do not allow falsehood. Do less exercise, but better. Constant training will give results: hitting the notes and improving vocal data.

March 18, 2014, 12:35

It is safe to say that a good ear is the only ability that allows you to become a musician.

Without this, there can be nothing.

Of course, it is possible to teach a person without a musical ear to play a musical instrument, but his playing, most likely, will resemble the actions of a robot executing a programmed program and unable to deviate from it.

When talking about musicality, they always mean a well-developed musical ear, even if this idea is not voiced.

I think there are many questions related to musical ear, but the most important ones are the following:

What is meant by good musical ear?
What are the criteria for its determination?
How to develop an ear for music?

Let's start by defining how musical hearing differs from ordinary hearing.

Ear for music- a set of abilities necessary for composing, performing and actively perceiving music. The musical ear, first of all, relies on knowledge and on the assimilated system of symbols. For example, everyone can sing the melody of the song “A Christmas tree was born in the forest”, but not everyone can name the notes of which it consists.

On the other hand, if your head has a stable connection between the first intonation of this song and the fact that this is the interval of a big sixth, then when you hear this intonation in any piece of music. You know that this is a major sixth interval and you can play it on the instrument.

The work of hearing in this case is to memorize certain musical structures and endow them with a semantic load.

As you can see, the development of hearing is the application of certain knowledge in practice, combined with the development of auditory memory.

Lack of understanding of how to relate auditory experiences to hearing development can lead people to believe that they are deaf.

However, there are practically no people without hearing. Most of the problems are related to poor quality teaching of the basics in music schools and other educational institutions.

There are many categories of musical ear. The most important are:

Perfect Pitch- the ability to determine the absolute height of musical sounds without comparing them with the standard. This implies that when you hear any note, you can name it.

It is divided into passive (a small percentage of note definition, limited use) and active.

Relative hearing- the most important for any musician - is defined as the ability to determine and reproduce pitch relationships in a melody, intervals, etc.;

inner ear- the ability to have a clear mental representation (for example, from musical notation or from memory) of individual sounds, melodic and harmonious constructions, entire musical pieces; very important in learning improvisation.

Harmonic hearing- the ability to hear harmonic consonances - chord combinations of sounds and their sequences and reproduce them with a voice in an unfolded form or on a musical instrument. In practice, this can be expressed, for example, in matching by ear to a melody, even without knowing the notes, or singing in a polyphonic choir.

polyphonic hearing- the ability to listen to all the voices in a polyphonic work.

polyrhythmic hearing- the ability to hear rhythmic figures sounding in different sizes and the ability to reproduce these rhythms.

There are several main ways to develop hearing:

Solfegging

Solfegging (that is, practice) involves singing intervals, chords, scales, modes, melodies. This practice strengthens the connection between the ear and the written note, and solfegging also forms a certain auditory system.

For example, while singing a major scale, you learn its structure, sound, and gradually it becomes natural and familiar to you, and you will perceive any deviation as an inconvenience. Thus, on the one hand, your hearing develops, on the other hand, until you master something else, it will be inaccessible to your perception. Such a problem may, for example, arise when listening to atonal music.

2. Musical dictation

The process is somewhat opposite to solfegging. Here you, relying on the knowledge already acquired, write down the melody played by the teacher on notes. For this, various techniques are used (finding stable tonality levels in the melody, recognizing intervals, determining cadences, etc.).

Also, musical dictation contributes to the development of musical memory.

3. Transcription (from English transcribing rewriting) or eat- selection by ear or on an instrument and recording on
notes of a piece.

This can be as much as removing your instrument, as well as other instruments, and even writing an entire score.

There are various techniques used by transcribers to speed up the process of transferring sounding music to paper (slowing down recording, tables, analysis, etc.).

4. Auditory analysis- identifying intervals, chords, chord sequences, rhythmic figures, etc. by ear.

Also, for the development of hearing, you can use various specialized programs (for example, Ear Trainer).

Thus, the criterion of good hearing is the ability to hear and reproduce various elementary structural elements, the ability to record the heard melody with notes, the ability to anticipate a certain sound, the ability to hear music with the eyes, etc.

The nature of the musical ear

Varieties of musical ear

Among the numerous varieties of musical ear, distinguished by one or another feature, the following should be noted:

The development of musical ear

In the most direct way, the development of musical ear is engaged in a special musical and pedagogical discipline - solfeggio. However, musical ear develops most effectively in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic ear, including through special movements, breathing exercises and dance.

The development of musical ear in children has a very important aesthetic and educational value. But in some cases, even children with good musical abilities do not show a great desire to develop their musical ear according to special educational programs. The task of parents and teachers in such cases is to provide musically gifted children with the appropriate conditions and opportunities for the development of their musical ear in some more free mode and in some more relaxed creative atmosphere.

At present, several computer programs have already been created (“Ear Master Pro”, “Music Examiner”, the set “Musical Arcades”, “Ukhogryz”, etc.), which are intended for self-study for the development of musical ear. But these programs, of course, should be considered only as an additional aid to the classes on the development of musical ear, which are conducted under the supervision of experienced and qualified teachers.

Notes

Literature

Maikapar S. M., Musical ear, its meaning, nature, features and method of proper development, M., 1900, P.,. 1915.
Maltseva E., The main elements of auditory sensations, in the book: Collection of works of the physiological and psychological section of the HYMN, vol. 1, M., 1925.
Teplov B., Psychology of musical abilities, M.-L., 1947.
Nazaikinskiy E., On the psychology of musical perception, M., 1972.
Garbuzov N., Zone nature of pitch hearing, M.-L., 1948.
Karaseva, M. V. Solfeggio - psychotechnics for the development of musical ear. M., 1999 (2nd ed. 2002).
Starcheus M.S. Musician's ear. - M.: Mosk. state Conservatory. P. I. Tchaikovsky, 2003.
Kirnarskaya D.K. Musical ability. - M.: Talents-XXI century, 2004.
Stumpf S., Die Anfänge der Musik, 1911 (Russian translation of The Origin of Music. L., 1927).
Stumpf K., Tonpsychologie, 1883, Bd. 1, 1890, Bd. 2 (“Psychology of musical perceptions”).
Meyer M.F., Contributions to a psychological theory of music (1901).
Meyer M., The Musician's Arithmetic (1929).
Meyer M., How we hear: How tones make music (1950).

Links

"Types of musical ear" on the site "Musicians about classical music and jazz"
"MusTeacH is a free online program for the development of musical abilities"

Categories:

Music terms
Musical education
Acoustics
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Musicology
Psychology of perception
Musical aesthetics
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Culturology

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See what "Music ear" is in other dictionaries:

EAR FOR MUSIC- (English music hearing) pitch hearing, that is, the ability to perceive and reproduce the pitch of musical sounds and their sequences. Distinguish absolute pitch - the ability to recognize and reproduce the pitch of sounds without comparing ...

musical ear- the ability of a person to perceive the individual qualities of musical sounds, to feel the functional connections between them. Types of musical ear: absolute ability to determine the absolute height of musical sounds; relative definition ... ... encyclopedic Dictionary

hearing- n., m., use. often Morphology: (no) what? hearing and hearing, what? hearing, (seeing) what? hearing what? hearing about what? about hearing; pl. what? rumors, (no) what? rumors for what? rumors, (see) what? rumors what? rumors about what? about rumors perception by organs ... ... Dictionary of Dmitriev

hearing- hearing, m. 1. only units. One of the five external senses, giving the ability to perceive sounds, the ability to hear. The ear is the organ of hearing. Acute hearing. A hoarse cry reached his ears. Turgenev. “I wish glory, so that your hearing will be amazed by my name ... Explanatory Dictionary of Ushakov

hearing- the ability to perceive sounds and navigate them in the external environment through an auditory analyzer. The reflection of the processes of the external world in the auditory system occurs in the form of a sound image, in which three parameters can be distinguished: 1) ... ... Great Psychological Encyclopedia

HEARING- Perhaps you know that the great Beethoven suffered from a disease of the hearing organs, and by the end of his life he heard absolutely nothing. Nor could he hear the performance of his latest compositions. How is that, you ask. After all, everyone knows that hearing is important for ... ... Music dictionary

Hearing- I (auditus) function that provides the perception of human and animal sound signals. The mechanism of auditory sensation is determined by the activity of the auditory analyzer. The peripheral part of the analyzer includes the outer, middle and inner ear ... Medical Encyclopedia

Hearing music- the ability of a person to fully perceive music, a necessary prerequisite for composing and performing activities. S. m. the basis of music. thinking and music. appraisal activity. The typology of S. m. has not yet fully developed. Can… … Music Encyclopedia

musical- adj., use comp. often Morphology: musical, musical, musical, musical; more musical; nar. musical 1. Musical is that which has to do with music. School of Music. | Musical evening. | There are many on TV... Dictionary of Dmitriev

Musical dictation- practiced while studying the musical discipline of solfeggio. A musical dictation is a recording of notes by ear: the teacher plays a musical fragment several times (one-voice, two-voice or polyphonic), after which ... ... Wikipedia

Books

Musical ear, its meaning, nature and features and method of proper development. Issue No. 24, Maykapar S.M. , Readers are invited to the book of the famous Soviet pianist, composer and teacher S. M. Maykapar (1867-1938). The author explores the phenomenon of musical hearing, its nature and ... Series:

Anatoly Voronin

Most people love to sing or play musical instruments. However, not everyone is good at it. Very often, the lack of an ear for music interferes with the correct performance. Many believe that this ability is innate and cannot be perfected.

In fact, there are practical ways to develop an ear for music on your own, even at home. In this article we will tell you how you can easily develop an absolute ear for music, and what you need to do for this.

Types of musical ear

Musical ear is a rather complex and multifaceted concept.

Among its various types, the main ones can be distinguished:

absolute pitch - the ability to accurately identify any note without comparing it with known sounds. It is believed that this skill can only be innate, although some scholars have a different opinion on this issue;
interval or relative hearing - the ability to recognize the pitch of sounds by comparing them with the reference ones. It is the relative view that can be developed independently. And to do it so well that it will be impossible to distinguish it from the absolute;
modal hearing - the ability to feel and hear the differences and relationships between sounds in a particular musical composition. The development of this species is especially important for those who are learning to play musical instruments;
the pitch view helps determine if sounds differ in pitch, even if the difference is minimal;
melodic ear allows you to hear and understand how the pitch of sounds changes as the melody is played. For those involved in vocals, it is this type that is most important;
the harmonic view allows you to hear consonances, determine how many and what specific sounds a chord consists of;
finally, rhythmic hearing determines the ability to feel the rhythm, that is, to distinguish the duration of the sound of notes in their sequence.

How to develop an ear for music at home?

For the development of relative hearing, a person needs only 30-40 minutes a day to perform the following exercises:

Singing scales. On any musical instrument, you need to play the scale do-re-mi-fa-sol-la-si-do and sing it with your voice at the same time. Then repeat the same without the tool. After a while, you can play the scale in the opposite direction and sing it with and without the instrument;
Loss of intervals. An exercise similar to the previous one. Here you must first play any musical instrument interval in the forward and backward directions, and then sing it with your voice;
Echo. This exercise is great even for a child, because it does not require any special skills. For adults, it is also extremely useful. Turn on your favorite song on the tape recorder or computer and listen to only the first line. Turn off the recording and sing it with your voice. Repeat this with each line at least 3-5 times until the song ends;
At the beginning of the lessons, work in the middle range, without trying to hit very high or low notes. When you learn to identify sounds well, repeat all the above exercises, first as high as possible, and then in a low voice;
Finally, the easiest way to develop this quality is simply by constantly making music. Listen to your favorite works, sing along to famous performers, try to play different musical instruments, dance. Try to compose at least a simple song. It is also very useful entertainment popular today - karaoke.

How can you quickly develop an ear for music in a child?

In addition to the Echo exercise described in the previous section, the following techniques can be used for children:

Read to your child an excerpt from his favorite fairy tale. He must remember as much as
will be able. After a while, ask your child to repeat everything you read to him. The exercise must be done until the baby can accurately reproduce the passage;
Complicate the previous exercise - ask the child not only to repeat the text, but also try to pronounce it with your intonation. Read the story differently each time;
The next activity is suitable for a group of children. Have all the children sit in a circle and blindfold one of them. Let the kids take turns saying certain words, and the one who is blindfolded tries to guess who said what;
In the future, you can do the same exercises with children's songs. Sing an excerpt from your son's or daughter's favorite song and have your child repeat after you.

How many people experience a feeling of inferiority when it comes to music, saying: "I got a bear in my ear." Most of the people got used to the idea that there is no hearing and no need. Although, before making such statements, it is worth initially knowing what an ear for music is.

It is worth remembering that human abilities do not just happen. All our ability comes from a vital necessity. Man learned to walk on two legs because he needed to free his hands.

Approximately the same situation with the musical ear. This feature appeared when living beings needed to communicate using sounds. A person's ear for music developed along with speech. In order to learn how to speak, we need to be able to distinguish sounds by strength, duration, pitch and timbre. Actually, it is this skill that people call musical ear.

Musical ear - a set of human abilities that allow him to fully perceive music and adequately evaluate one or another of its advantages and disadvantages; the most important professional quality necessary for successful creative activity in the field of musical art: all professional composers, performing musicians, sound engineers, musicologists should have a well-developed ear for music.

Musical ear is dialectically connected with the general musical talent of a person, expressed in a high degree of his emotional susceptibility to musical images, in the strength and brightness of the artistic impressions, semantic associations and psychological experiences caused by these images.

Musical ear presupposes a subtle psycho-physiological sensitivity and a pronounced psycho-emotional responsiveness both in relation to various characteristics and qualities of discrete musical sounds (their height, loudness, timbre, nuance, etc.), and to various functional relationships between individual sounds in the holistic context of that or other piece of music.

Intensive study of musical ear began with the 2nd floor. 19th century G. Helmholtz and K. Stumpf gave a detailed idea of the work of the organ of hearing as an external analyzer of sound oscillatory movements and of some features of the perception of musical sounds; thus they laid the foundation for psychophysiological acoustics. N. A. Rimsky-Korsakov and S. M. Maykapar were among the first in Russia in the late 19th - early 20th centuries. studied musical ear from a pedagogical position - as the basis for musical activity; they described various manifestations of musical ear, began the development of a typology. At the end of the 40s. An important generalizing work by B. M. Teplov "The Psychology of Musical Abilities" appeared, where for the first time a holistic view of musical ear from the standpoint of psychology was given.

Various aspects, properties and manifestations of musical ear are studied by such specialized scientific disciplines as musical psychology, musical acoustics, psychoacoustics, psychophysiology of hearing, neuropsychology of perception.

Varieties of musical ear

Among the numerous varieties of musical ear, distinguished by one or another feature, the following should be noted:

absolute pitch - the ability to determine the absolute pitch of musical sounds without comparing them with reference sounds, the pitch of which is already initially known; the psychophysiological basis of absolute pitch is a special kind of long-term memory for the pitch and timbre of sound; this type of hearing is innate and, according to scientific data, cannot be acquired through any special exercises, although research in this direction continues; for a successful professional (any musical) activity, the presence of absolute pitch does not give any significant advantages to its owners; according to statistics, one person out of ten thousand has perfect pitch, and among professional musicians, absolute pitch occurs in about one in several dozen;

relative (or interval) hearing - the ability to determine and reproduce pitch relationships in musical intervals, in melody, in chords, etc., while the pitch is determined by comparing it with a reference sound (for example, for professional violinists such a reference sound is a finely tuned note "la" of the first octave, the tuning fork frequency of which is 440 Hz); relative pitch should be fairly well developed in all professional musicians;

inner ear - the ability to have a clear mental representation (most often - from musical notation or from memory) of individual sounds, melodic and harmonic constructions, as well as complete musical works; this type of hearing is associated with a person's ability to hear and experience music "inwardly", that is, without any reliance on external sound;

intonation hearing - the ability to hear the expression (expressiveness) of music, to reveal the communication links inherent in it; intonation hearing is subdivided into pitch hearing (which allows one to determine musical sounds according to their relation to the absolute pitch scale, thereby providing musicians with “accuracy in hitting the right tone”), and melodic, which provides a holistic perception of the entire melody, and not just its individual sound intervals;

harmonic hearing - the ability to hear harmonic consonances - chord combinations of sounds and their sequences, as well as reproduce them in an unfolded form (arpeggiate) - by voice, or on any musical instrument. In practice, this can be expressed, for example, in the selection by ear of an accompaniment to a given melody or singing in a polyphonic choir, which is feasible even if the performer has no training in the field of elementary music theory;

modal hearing - the ability to feel (distinguish, determine) modal-tonal functions (characterized by such concepts as "stability", "instability", "tension", "resolution", "discharge") of each individual sound (musical note) in the context of that or other musical composition;

polyphonic hearing - the ability to hear in the general sound fabric of a musical work the simultaneous movement of two or more separate voices;

rhythmic hearing - the ability to actively (motorly) experience music, feel the emotional expressiveness of musical rhythm and accurately reproduce it;

timbre hearing - the ability to color sensitively feel the timbre coloring of individual sounds and various sound combinations;

texture hearing - the ability to perceive all the subtle nuances of the finishing texture of a musical work;

architectonic ear - the ability to capture various patterns of the structure of the musical form of a work at all its levels, etc.

The development of musical ear

At present, several computer programs have already been created that are designed for independent studies on the development of musical ear.

Musical ear: myths and reality.

People of different ages hear music in different ways. It's true. A child is able to distinguish sound with a frequency of up to 30,000 vibrations per second, but in a teenager (up to twenty years old) this figure is 20,000 vibrations per second, and by the age of sixty it drops to 12,000 vibrations per second. A good music center gives a signal with a frequency of up to 25,000 vibrations per second. That is, people over sixty will no longer be able to appreciate all its advantages, they simply will not hear the full range of sounds.

It doesn't matter at what age you start training your hearing. Wrong. American researchers have found that the highest percentage of people with absolute pitch is observed among those who began to study music between 4 and 5 years of age. And among those who started playing music after 8 years, there are almost no people with perfect pitch.

Men and women hear music the same way. In fact, women hear better than men. The frequency range perceived by the female ear is much wider than that of men. They more accurately perceive high-pitched sounds, better distinguish tonalities, intonations. In addition, women's hearing does not become dull until the age of 38, while in men this process begins as early as 32 years of age.

The presence of an ear for music does not depend on the language a person speaks. Wrong. This was proved by a researcher from the University of California, comparing the data of 115 American and 88 Chinese music students. Chinese is tonal. This is the name of a group of languages in which, depending on intonation, the same word can acquire several (up to a dozen) meanings. English is not tonal. The subjects were tested for absolute pitch. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. With the absolute pitch test, 60% of the Chinese and only 14% of the Americans passed. The researcher explained this by the fact that the Chinese language is more melodic, and the Chinese from birth get used to distinguishing a larger number of sound frequencies. Thus, if a person's language is musical, with a high probability he will also have an absolute ear for music.

A melody heard at least once is stored in our brain for a lifetime. It's true. American scientists have discovered the area of the cerebral cortex responsible for musical memories. This is the same auditory area of the cerebral cortex that is also responsible for the perception of music. It turns out that it is enough for us to hear a melody or a song at least once, as it is already stored in this auditory zone. After that, even if we do not hear the melody or song we listened to, the auditory zone is still able to extract it from its "archives" and play it in our brain "from memory". The only question is how deep this melody is hidden. Favorite and frequently heard songs are stored in short-term memory. And long-heard or rarely heard melodies are deposited in the "closets" of long-term memory. However, some event or sound sequence can suddenly force our memory to extract these forgotten melodies from its "bins" and play them in our brain.

Musical ear is inherited. This opinion has been around for a long time and is widespread. But only recently have scientists been able to scientifically substantiate it. Researchers have found that people without a musical ear have less white matter in the lower frontal gyrus of the right hemisphere than those who perceive and reproduce melodies well. It is possible that this physiological feature is genetically determined.

Animals have no musical ear. They just hear music differently. Animals perceive much more sound frequencies. And if people are able to catch up to 30,000 vibrations per second, then dogs, for example, register sound having a frequency of 50,000 to 100,000 vibrations per second, that is, they even catch ultrasound. Although animals have a sense of tact, our pets cannot perceive the melody. That is, they do not combine chord combinations of sounds into a certain sequence called a melody. Animals perceive music only as a set of sounds, and some of them are regarded as signals of the animal world.

An ear for music is an ability that is given from above and which cannot be developed. Wrong. Those who entered a music school probably remember that they were asked not only to sing, but also to tap out a melody (for example, with a pencil on the table top). It is explained simply. The instructors wanted to assess whether the applicant had a sense of tact. It turns out that it is the sense of tact that is given (or not given) to us from birth, and it is impossible to develop it. And if a person does not have it, then music teachers will not be able to teach him anything. By the way, the percentage of people who lack a sense of tact is very small. But everything else can be taught, including musical ear, if there is a desire.

Musical ear is rare. Wrong. In fact, any person who is able to speak and perceive speech has it. After all, in order to talk, we must distinguish sounds by pitch, volume, timbre and intonation. It is these skills that are included in the concept of musical hearing. That is, almost all people have an ear for music. The only question is, what kind of musical ear do they have? Absolute or internal? The highest stage of musical ear development is absolute pitch. It is revealed only as a result of music lessons (playing a musical instrument). For a long time it was believed that it was not amenable to development, but now methods for the development of absolute pitch are known. The lowest level of hearing development is internal hearing, uncoordinated with the voice. A person with such hearing can distinguish melodies, reproduce them from memory, but not sing. The lack of musical ear is called the clinical level of hearing development. Only 5% of people have it.

Those who have an ear for music can sing well. This is true, but only partly. To sing well, it is not enough to have an ear for music. You also need to be able to control your voice, vocal cords. And this is a skill that is acquired in the learning process. Almost everyone can hear falseness in singing, but by no means everyone can sing cleanly. Moreover, it often seems to those who sing that they sing without falsehood, but all their mistakes are noticeable to those around them. This is explained by the fact that each person listens to himself with his inner ear and as a result hears something completely different from what others hear. So a novice performer may well not notice that he does not hit the notes. In fact, in order to sing well, it is enough to have only a harmonic ear. This level of hearing development is considered one of the lowest. This is the name of the ability to hear a melody and reproduce it with a voice. And yet, its development is possible even in the initial absence of such ability.

If you really love music and want to learn it, don't be intimidated by your lack of hearing. How capable you are of music, only your lessons will show. 95% of people can make music and achieve results in this. Moreover, the more you engage in music, the more your musical ear will develop. Up to the absolute - there are no limits to perfection. The main thing is to have a desire and not doubt your abilities!