1. By Nick Palmisano

2.  Based on the research and field testing of Edwin E. Gordon  Comprehensive method to teach audiation  Can be implemented into any teaching style or level  Primary objective is to develop musicians’ tonal and rhythmic audiation

3.  The foundation of musicianship  When we hear and comprehend music when the sound isn’t or may never have been present.  A cognitive process where the brain gives meaning to musical sounds.

4.  Listening  Reading  Writing  Recalling and performing  Recalling and writing  Creating and improvising  Creating and improvising while reading  Creating and improvising while writing

5.  Momentary retention  Initiating and audiating tonal and rhythmic patterns AND recognizing and identifying a tonal center and macrobeats  Establishing objective or subjective tonality and meter  Consciously retaining in audiation tonal and rhythmic patterns  Consciously recalling patterns organized and audiated in other pieces of music  Conscious prediction of patterns

6.  Everyone has it!  Measured by a valid music aptitude test  Students are taught differently based on their musical aptitude

7.  Learning music is like learning a language  Listen  Imitate  Think  Improvise  Conversation

8.  Introduction  Detailed study of topic  Students have better understanding  Run through song  Rehearse smaller sections  Run through song again

9.  The “Part” of the curriculum  Skill learning sequences  Tonal content  Rhythm content  Example - http://giml.org/mlt/classroom/

10.  http://giml.org/mlt/about/