Audiation: Chapter Summary

Audiation:
1. Audiation occurs when we hear and comprehend music for which sound is not physically present (as in recall), is no longer present (as in listening), or may never have been present (as in creativity and improvisation). Aural perception occurs when we hear sound as it is produced.
2. Audiation is central to music learning theory. It also forms the basis for music aptitudes and music achievement.
3. Learning conditions in music learning theory are ideal when all stages and types of audiation become apart of the audiation process.
4. The ability to audiate is innate. How to audiate is taught.
5. Sound is not music. Sound becomes music though the audiation of context and content.

Audiation is to music what thought is to language:
1. One audiates while listening to, recalling, performing, interpreting, creating, improvising, and reading and writing music notation.
2. Although music is not a language, the process of audiating and giving meaning to music is similar to thinking and giving meaning to language.
3. The words "language," "speech," and "thought" have parallel meanings to "music," "performance," and "audiation."
4. Tonal patterns and rhythm patterns are fundamental to audiation. They include essential and inessential pitches and durations.

Notational audiation:
1. Capable musicians audiate notationally as they read and write music notation. Others decode music notation.
2. Musicians bring meaning to notation. Those who connot audiate attempt to take theoretical meaning from notation.
3. Just as we think and read words in language and not the letters of the alphabet, we audiate and read patterns in music and not individual pitches and durations.

Distinguishing audiation from imitation and memorization:
1. Aural perception, imitation, memory, imagery, and recognition are different from audiation. However, some become part of the audiation process.
2. Imitation, sometimes referred to as inner hearing, and audiation are often confused. However, imitation provides the necessary readiness for audiation.

Clarifying the audiation process:
1. We give meaning to music by audiating context, which includes objectives or subjective tonality and meter.
2. Memory and memorization are not the same.
3. Although some labels used to describe audiation are shared by music theorists, audiation and music theory have little, if anything, in common.

Types of audiation:
1. The eight types of audiation are not sequential, though some serve as readiness for others.
Type 1--Listening to familiar and unfamiliar music.
Type 2--Reading notation of familiar and unfamiliar music.
Type 3--Writing notation of familar and unfamiliar music.
Type 4-Recalling and performing familiar music.
Type 5--Recalling and writing notation of familiar music.
Type 6--Creating and improvising unfamiliar music.
Type 7--Reading notation of unfamiliar music when we are creating or improvising.
Type 8--Writing notation of unfamiliar music when we are creating or improvising.

Stages of Audiation:
1. The six stages of audiation are sequential and occur concurrently, not simultaneously.
Stage 1: We engage in unconscious momentary retention of short series of pitches and durations. Thus, Stage 1 does not strictly reflect audiation.
Stage 2: We consciously and silently imitate all pitches and durations in each series heard in Stage 1. Then, while audiating a tonal center and macrobeats for each series of pitches and durations, we organize them into one or more tonal patterns and rhythm patterns of essential pitches and essential durations.
Stage 3: Through the audiation of tonal and rhythm patterns, we consciously establish the objective or subjective tonality and meter of music.
Stage 4: We consciously retain in audiation patterns of essential pitches and essential durations we have already organized in music.
Stage 5: Stimulated by what we are hearing, we consciously recall patterns of essential pitches and essential durations we have previously organized and audiated in other pieces of music.
Stage 6: Based on what we have been audiating, we predict patterns of esential pitches and essential durations we will be hearing next in music.
2. The first stage of audiation is activated differently in different types of audiation.