This article reports on a small-scale experimental pilot study examining instrumentalists’ techniques for aural learning of new melodies from various cultural traditions, with the goal of contributing to a contemporary understanding of multimusicality. It examines what strategies musicians employ to learn new melodies and whether these strategies vary when the musicians are asked to learn melodies from unfamiliar music-cultures. The study participants ( n = 12) were recruited from an arts department at a third-level institution in Ireland. Several were multimusical, with a high level of training and/or experience in two or more music-cultures. The article identifies three broad learning strategies deployed by study participants, which at times overlapped or were used simultaneously. These are named ‘segment-by-segment’, ‘joining-in’ and ‘chords-before-melody’. While learning strategies are based on experience and existing knowledge, genre and music-culture background proved to be poor indicators of the strategies deployed in the experimental task. Participants applied the same learning toolkit to both familiar and unfamiliar musics, but individual strategies differed based on a number of parameters. The findings raise interesting questions about multimusicality, and they suggest further research is needed to more fully explore these questions.

中文翻译：

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耳朵学习任务中的学习策略和多音乐性：一项实验性试点研究


本文报告了一项小规模的实验试点研究，该研究考察了器乐演奏家对来自不同文化传统的新旋律的听觉学习技术，目的是为当代对多音乐性的理解做出贡献。它研究了音乐家采用哪些策略来学习新旋律，以及当音乐家被要求从不熟悉的音乐文化中学习旋律时，这些策略是否会有所不同。研究参与者 （n = 12） 是从爱尔兰一家三级机构的艺术部门招募的。有几位是多音乐的，在两种或两种以上的音乐文化中接受过高水平的培训和/或经验。本文确定了研究参与者部署的三种广泛的学习策略，这些策略有时重叠或同时使用。它们分别被命名为 'segment-by-segment'、'joining-in' 和 'chords-before-melody'。虽然学习策略基于经验和现有知识，但流派和音乐文化背景被证明是实验任务中部署策略的不良指标。参与者将相同的学习工具包应用于熟悉和不熟悉的音乐，但个人策略因许多参数而异。这些发现提出了关于多音乐性的有趣问题，他们表明需要进一步的研究来更全面地探索这些问题。