What does it mean to have hearing? I have no “ear for music”! What does this mean and what to do about it? An ear for music is a gift from birth and cannot be developed.
Our friends who teach singing - including those who are “not at all capable” - never tire of explaining that this label is ridiculous and stupid. And it is the insults received from those who shouted at you “shut up” that most hinder you from singing, and not some natural reasons.
The ability to sing, that is
A). don't be afraid to sound at all
b). control the pitch of the sound
- can be fully developed through exercises that are not at all difficult.
Original taken from lyosia V
A wonderful article about voice control and a video of one of the works from Alexey Kolyada’s training “Opening the Voice”. I am pleased to share:
Original taken from araviya c I have no “ear for music”! What does this mean and what to do about it?
I sang a lot as a child. At the age of 7-8 I sang in a folk art studio, at 9 I tirelessly twirled in front of the mirror, inventing dances and memorizing pop hits and more and more new songs. And then someone kind told me that I sing badly, and that in general I have no voice. No, of course there is one, but not for singing. They told me this persistently, and I myself heard that I don’t always sing the way the voice from the tape recorder sings. And a little later I learned that in order to sing beautifully and accurately, you need to have an ear for music, which I also lack, along with the voice. I heard this many times - at school during music lessons, in my family, among friends and acquaintances. By the age of 15, I clearly knew that I couldn’t sing, because by doing so I would darken the mood of those around me. Moreover, I still don’t understand when exactly that same notorious bear did his vile thing to my ear and left me without singing, because I was singing and I liked it! Apparently, the collective opinion of others about my singing abilities and my own defeats had a crushing effect on me. And then I stopped singing and just sounding for a long time.
And a couple of years ago I suddenly learned that the lack of an ear for music, which I am endowed with, has nothing to do with hearing! The point is completely different - in ability to accurately match pitches an audible sequence of sounds (or remembered) and the sounds that the person himself makes. Actually, it is the absence of this ability that is called “lack of ear for music.”
In essence, the ability to sound at the right pitch, due to the lack of development of which many people stop singing, is a simple muscle coordination task. Some people master it quickly and easily even in childhood. About them, the lucky ones, I was often told that they had an ear for music. To this, however, they added that this skill comes from nature. And since not everyone is given it by nature, you shouldn’t try to do anything with your voice. And I, of course, calmed down and didn’t rock the boat, because nature didn’t endow me with such wealth. And she took it for granted.
Of course, for some, the simple advice “don’t sing - there’s no hearing” is not enough. They persevere and sing. Although this desire, as experience shows, does not always lead to good consequences. After some time, without developing the ability to sound accurately, you can get a fair amount of grievances, complexes, despair and uncertainty- everything that manifests itself in those cases when a person fails at something, and those around him laugh at him. Or they do something offensive.
Actually, with such baggage, it’s time to neglect the ability to sound and sing, thinking that this is the lot of gifted people. However, we should not forget that the so-called “ear for music” is an ability, which means it can be developed. That’s what they once told me, adding that in fact, everyone has an ear for music, just not everyone has it developed.
In the video presented below, I filmed and successfully tested one of the possibilities of working with this ability - the ability to accurately correlate in pitch the sounds that a person hears and that he himself makes. This a simple exercise that everyone can do, once seemed to me simply impossible and terrible. Now I, who was once afraid to open my mouth and sing any melody, do it easily and simply. With this exercise a person learns to sound higher and lower, changing the pitch of the sound, which is precisely a necessary condition for the development of a “musical ear.”
When performing this exercise, difficulties may arise: for example, it turns out that the voice in some places becomes uncontrollable and seems to sound on its own, and not very accurately and not very beautifully. At the same time, it is noticed that in this case tensions appear in the human body, due to which it is not possible to accurately change the pitch of the sound. I’ll tell you a secret, these bodily tensions, as it turns out, are the very accumulated grievances and other troubles that manifest themselves during any attempt to sing in an unfriendly environment. A little work and hunting to sound accurate– and these tensions will quickly go away. In the video, the guys don’t show how to work with tension, but they show and tell you in detail how to master the ability to sound higher and lower. And I think we’ll show you how to work with stresses later.
Good luck!
Hearing is a person’s ability to perceive and distinguish different sounds.
Musical ear is a more advanced and complex concept, a state consisting of a number of components, i.e. types of musical hearing.
Types of musical hearing:
Pitch
Melodic
Harmonic
Timbre-dynamic
Musical ear is the ability to perceive the degree of sound sequence, grasp the connection between sounds, remember, internally imagine and consciously reproduce a musical sequence.
Pitch hearing- This is a person’s ability to distinguish and determine the pitch of sound. It can be relative and absolute.
Absolute pitch is the ability to recognize or reproduce the pitch of individual sounds that do not correlate with others whose pitch is known.
Active – when the pitch of a sound is recognized and reproduced.
Passive - when the pitch of a sound is recognized but not reproduced.
Having perfect pitch for a musician is desirable, but not required. A musician must have a relatively developed ear.
Methods for developing pitch hearing:
Singing the main themes from the sheet before analyzing them on the instrument.
Solfage
Recording dictations
Singing intervals
Melodic ear (horizontal)- This is a more complex type of pitch hearing.
Melodic hearing is the ability to perceive the pitch of musical sounds in their logical sequence and connection with each other (i.e. melody)
Development methods:
Singing the melody separately from the accompaniment part
Performing accompaniment while singing the melody out loud
Selection by ear
Listening to music
Recording dictations
Harmonic hearing (vertical)- a feature of our hearing is the ability to perceive fusion
sounds vertically. Thanks to him, we can decompose a harmonic combination into sounds. Those. the ability to hear sounds together (i.e. harmony) and isolate any of them.
Harmonic hearing is not given to a person by nature - it is a skill and it develops.
Development methods:
Play the piece at a slow tempo, listening to all the harmonic modifications.
Extracting harmony from a work
Arpeggiated performance of new chords
Selection of harmonic accompaniment for various melodies
Polyphonic hearing is the ability to recognize and reproduce several simultaneously
sounding lines.
Playing polyphony with concentration, focusing on any individual voice
Timbre-dynamic hearing– this is an ear for music in its manifestation in relation to timbre and dynamics.
The main method of development is listening to music.
In pedagogical practice there is such a concept as inner hearing.
Inner hearing is the ability to hear and imagine the sound of sounds recorded on paper.
How often do we hear from mature, accomplished people that they have absolutely no hearing or that a bear stepped on their ear. But is ear for music really an exclusively innate quality or can it still be developed even at a very young age?
Musical hearing is an exclusively human ability to perceive, reproduce and compose musical compositions. Many people believe that if they cannot sing correctly or cannot learn to play a musical instrument, then they do not have an ear for music. Is this really true? Let's figure it out.
Is it even possible to develop an ear for music if a person has no innate talent?
It turns out that musical ear, like any other human ability, is subject to development and training. The job of hearing is to memorize certain musical structures and endow them with meaning. That is, the “presence” of an ear for music is the application of certain knowledge in practice plus developed auditory memory.
The absence of an ear for music in the overwhelming majority of cases only indicates that a person does not have knowledge about the basic aspects of music education. At any age you can learn to sing and play a musical instrument. The age-related features of hearing development are only that at an earlier age it is much easier to develop musical abilities than at a more mature age. In principle, this applies not only to musical education and the development of musical ear; as we all know, children learn any interesting activity faster, be it skating or cycling, than adults. But you can develop an ear for music at any age, it all depends on your hard work, desire and patience.
The method of developing musical ear includes improving several types of hearing. In order to develop an ear for music, learn to sing beautifully and hear the structure of musical melodies, you should develop such types of hearing as rhythmic, melodic and internal.
- The sense of rhythm and tempo of a melody is rhythmic hearing. To develop rhythmic hearing, read poetry syllable by syllable to music, dance and sing to a well-known simple melody.
- Melodic hearing is the perception and understanding of the structure of a melody, its organization, and an awareness of the movement of music.
- Inner hearing is the ability to imagine musical compositions in the mind, in thoughts, hear them internally and reproduce them from memory. To develop melodic and inner hearing, you should take up such an academic discipline as solfeggio. In this case, an appointment with a music teacher is necessary. Solfeggio involves singing melodies, intervals, modes, scales and chords. You will also learn to remember the sound of melodies, determine intervals and rhythmic compositions by ear, and write notes by ear - the teacher plays a melody, and you try to decipher it note by note.
If you do not have the opportunity to sign up with a professional music education teacher, then you can use 
specialized Internet sites, for example, muz-urok or earmaster, or programs for the development of musical hearing - Noteris, Ukhogryz, etc.
And most importantly, since developing an ear for music will not be possible in one or two days, you should systematically (every day!) do this for at least one year. Listen to beautiful high-quality melodies, try to repeat the same musical notes after professional performers, listen, memorize and play music. Any hearing is subject to improvement and development. The ability to hear and reproduce musical compositions depends only on your desire and performance.
31.08.2013 14:51
Ear for music– the concept is multi-layered and quite complex. This is a set of human abilities that allow him to fully perceive music and evaluate it objectively. Musical ear is a very important quality necessary for successful creative activity in the field of musical art.
Musical hearing is associated with sensitivity to musical images, emerging impressions, associations and psychological experiences.
Thus, people with an ear for music are sensitive and emotionally responsive:
To the characteristics and qualities of musical sounds (their pitch, volume, timbre, etc.);
- to functional connections between individual sounds in the context of a musical work as a whole.
Based on these criteria, we can distinguish different types of musical hearing:
1. Inner hearing
This is the ability to mentally accurately imagine a piece of music, melody and individual sounds, and “hear” them in the head.
Remember the brilliant Beethoven, who, having lost his hearing at the end of his life, continued to write musical works, perceiving their sound only with his inner ear.
2. Absolute pitch
This is the ability to identify any musical note without comparing it with other sounds whose pitch is known in advance. In the presence of absolute pitch, a person has a special memory for the exact pitch of musical tones(vibration frequency of the sound wave).
This type of hearing is believed to be innate, although research in this direction continues. However, having absolute pitch does not provide any significant advantages. :)
3. Relative or interval hearing
This is the ability to determine the pitch of musical sounds by comparing them with already known ones.
The level of development of relative hearing can be so high that it becomes similar to absolute hearing. Most successful musicians have only well-developed interval hearing. There is an opinion that having relative hearing is better and more convenient than absolute hearing. Therefore, dare and practice!
4. Pitch hearing
This is the ability to hear sounds that differ in pitch or not, even with the slightest difference. On the Internet you can easily find tests where you need to determine whether the second sound is higher or lower, and thus find out how developed your pitch hearing is.
First you need to learn to hear the difference between two adjacent halftones. On a piano keyboard, half the tone is the adjacent keys. And then you can improve further.
5. Melodic ear
This is the ability to hear the movement of a melody, that is, how the pitch of sounds changes as the melody plays. Such hearing provides a holistic perception of the entire melody, and not just its individual sound intervals.
A melody can “stand still”, “move up or down”, as musicians say, according to steps. She can "jump" in large and small leaps. By practicing solfeggio, you can learn the names and learn to hear ALL existing “jumps-distances” between sounds - intervals.
Pitch and melodic hearing are combined into intonation hearing - the ability to feel the expressiveness of music, its expression, intonation.
6. Metrorhythmic hearing
This is the ability to distinguish the duration of sounds in their sequence ( rhythm), their strength and weakness ( meter), and also feel changes in the speed of music ( pace). It is also the ability to actively, motorly experience music, to feel the emotional expressiveness of musical rhythm.
7. Harmonic hearing
This is the ability to hear harmonic consonances– two or more sounds sounding simultaneously and the ability to distinguish sequences of such consonances.
It can be divided into interval(sounding 2 sounds) and chordal(sounding 3 or more sounds). To have such hearing means to hear how many sounds sound at the same time, what specific sounds they are and at what distance from each other these sounds are located.
In practice, harmonic hearing is useful when selecting an accompaniment for a given melody by ear. This ear should be well developed in choral conductors. Note that harmonic hearing is closely related to modal hearing.
8. Modal hearing
This is the ability to hear and feel the relationships between sounds - modal-tonal functions– in the context of a particular musical composition. They are characterized by such concepts as: sustainability And instability, voltage And permission, gravity, discharge every single note.
Major And minor- the main modes, the basis of European music. But there are many other constructions of scales in which a different organization of melodies operates.
9. Polyphonic hearing
This is the ability to hear and imagine in the mind the movement of two or more melodic voices within the overall sound fabric of a musical work.
These voices may not move synchronously, enter and disappear at different times, catch up with each other or be late with the entry (for example, canon, echoes, fugue). But they sound at the same time. That is why polyphonic hearing is one of the most complex types of musical hearing.
Remember the famous story? Mozart, when he was 14 years old, heard the Miserere performed in the Sistine Chapel. He memorized this complex polyphony entirely by ear and wrote it down exactly from memory, although the notes of the work were kept in the strictest confidence. Here's a music "hacker" for you!
10. Timbre hearing
This is the ability to coloristically distinguish the timbre coloring of the sound of voices and instruments, individual sounds and various sound combinations. Such hearing is usually well developed among orchestral conductors and sound engineers. :)
Timbres distinguish sounds of the same pitch and volume, but performed on different instruments, with different voices, or on the same instrument, but with different playing techniques. When perceiving timbres, various associations usually arise, comparable to sensations from objects and phenomena. The timbre of the sound can be bright, soft, warm, cold, deep, sharp, rich, metallic, etc. Purely auditory definitions are also used: for example, voiced, deaf, nasal.
11. Dynamic hearing
This is the ability to determine the volume of sound and its changes. It very much depends on the level of perception of your hearing in general.
In a sound sequence, each subsequent sound can be louder or quieter than the previous one, giving the work an emotional overtones. Dynamic hearing helps determine where the music "swells" ( crescendo), "subsides" ( diminuendo), “moves in waves,” makes a sharp emphasis, and so on.
12. Textured hearing
This is the skill of perceiving the manner of technical and artistic processing of a musical work - its textures.
For example, the texture of the accompaniment can also be different: from a simple “um-tsa, um-tsa” (alternating bass and chord) to beautiful modulations arpeggio– arranged chords. Another example, blues and rock and roll have the same harmonic basis, but the type of texture, as well as the choice of instruments, are different. Composers and arrangers should have a well-developed ear for texture.
13. Architectonic hearing
This is a sense of the form of a musical work, the ability to determine the various patterns of its structure at all levels. With the help of architectonic hearing, one can perceive how motifs, phrases, sentences are put together into one form, how a building is made up of bricks, slabs and blocks.
All these types of musical hearing Every person has it, but not everyone is equally well developed. Of course, completely deny the level of natural data in the matter of development types of musical hearing it is forbidden. BUT any person can achieve the highest results in this direction with regular, targeted training in hearing development.
The development of musical ear is the subject of a special musical theoretical discipline - solfeggio or music theory. However, the most effective types of musical hearing develops in the process of active and versatile musical activity. For example, it is advisable to develop rhythmic hearing through special movements, breathing exercises and dance.
In the next article we will look at what they mean when they say, “Do I have an ear for music?”
If you want to study the phenomenon of musical hearing more deeply and thoroughly, as well as learn about your hearing abilities, then regular classes or consultations are the way to go! The most convenient way is to go straight from home to an online lesson :)
How many people experience a feeling of inferiority when it comes to music, declaring: “a bear stepped on my ear.” Most people have become accustomed to the idea that there is no hearing and there is no need for it. Although, before making such statements, it is worth first learning what an ear for music is.
It is worth remembering that human abilities do not arise just like that. Every ability we have comes from vital necessity. Man learned to walk on two legs because he needed to free his hands.
The situation is approximately the same with an ear for music. This function appeared when living beings needed to communicate using sounds. In humans, an ear for music developed along with speech. In order to learn 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 is a set of human abilities that allow him to fully perceive music and adequately evaluate certain 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, and musicologists must have a well-developed ear for music.
An ear for music is dialectically related to a person’s general musical talent, which is expressed in a high degree of emotional sensitivity to musical images, in the strength and brightness of artistic impressions, semantic associations and psychological experiences evoked by these images.
Musical hearing presupposes subtle psychophysiological sensitivity and pronounced psycho-emotional responsiveness both in relation to various characteristics and qualities of discrete musical sounds (their height, volume, timbre, nuance, etc.), and to various functional connections between individual sounds in the holistic context of that or other musical work.
Intensive study of musical hearing began in the 2nd half. XIX century G. Helmholtz and K. Stumpf gave a detailed idea of the work of the organ of hearing as an external analyzer of sound vibrational movements and some of the 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 ear for music from a pedagogical point of view - as a basis for musical activity; they described various manifestations of musical hearing and began developing a typology. At the end of the 40s. An important generalizing work by B. M. Teplov appeared, “The Psychology of Musical Abilities,” where for the first time a holistic view of musical hearing was given from the perspective of psychology.
Various aspects, properties and manifestations of musical hearing are studied by such specialized scientific disciplines as music psychology, musical acoustics, psychoacoustics, psychophysiology of hearing, neuropsychology of perception.
Types of musical hearing
Among the numerous varieties of musical hearing, distinguished according to certain characteristics, 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 type 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 successful professional (any musical) activity, the presence of absolute pitch does not give its owners any significant advantages; according to statistics, one person out of ten thousand has absolute pitch, and among professional musicians, absolute pitch occurs in approximately one out of 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 of the sound is determined by comparing it with a reference sound (for example, for professional violinists such a reference sound is a precisely tuned note “A” of the first octave, the tuning fork frequency of which is 440 Hz); relative hearing should be fairly well developed in all professional musicians;
inner hearing - the ability to clearly mentally imagine (most often from musical notation or from memory) individual sounds, melodic and harmonic structures, as well as completed musical works; this type of hearing is associated with a person’s ability to hear and experience music “in his head,” that is, without any reliance on external sound;
intonation hearing - the ability to hear the expression (expressiveness) of music, to reveal the communicative connections embedded in it;
intonation hearing is divided into pitch hearing (which allows one to determine musical sounds in their relation to the absolute pitch scale, thereby providing musicians with “accuracy of hitting the desired tone”), and melodic hearing, which ensures 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 sequence, as well as reproduce them in a decomposed form (arpeggiate) - with the voice, or on any musical instrument.
In practice, this can be expressed, for example, in selecting an accompaniment for a given melody by ear 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 the simultaneous movement of two or more individual voices in the general sound fabric of a musical work;
rhythmic hearing - the ability to actively (motorly) experience music, feel the emotional expressiveness of a musical rhythm and accurately reproduce it;
timbral hearing - the ability to sensitively sense the timbre coloring of individual sounds and various sound combinations;
textured hearing - the ability to perceive all the subtlest nuances of the finishing texture of a musical work;
The most direct development of musical ear is dealt with by a special musical 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 hearing, including through special movements, breathing exercises and dance.
The development of musical hearing in children has a very important aesthetic and educational significance. But in a number of cases, even children with good musical abilities do not show a great desire to develop their musical ear through special educational programs. The task of parents and teachers in such cases is to provide musically gifted children with appropriate conditions and opportunities for the development of their musical ear in some more free mode and in some more relaxed creative atmosphere.
Currently, several computer programs have already been created that are intended for independent studies on the development of musical ear.
Musical ear: myths and reality.
At different ages, people hear music differently. This is 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 decreases to 12,000 vibrations per second. A good music center produces 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 entire breadth of the 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 in those who began studying music between 4 and 5 years of age. And among those who started studying music after the age of 8, there are almost no people with absolute pitch.
Men and women hear music the same way. In fact, women hear better than men. The range of frequencies perceived by the female ear is much wider than that of men. They perceive high-pitched sounds more accurately, distinguish tones and intonations better. In addition, women's hearing does not become dull until the age of 38, while in men this process begins at the age of 32.
Having an ear for music does not depend on the language a person speaks. Wrong. A researcher from the University of California proved this by comparing data from 115 American and 88 Chinese music students. Chinese is a tonal language. This is the name of a group of languages in which, depending on intonation, the same word can take on several (up to a dozen) meanings. English is not a tonal language. The subjects' absolute pitch was examined. They had to distinguish sounds that differed in frequency by only 6%. The results are impressive. 60% of Chinese passed the test of absolute pitch and only 14% of Americans. The researcher explained this by the fact that the Chinese language is more melodic, and the Chinese from birth are accustomed to distinguishing a greater number of sound frequencies. Thus, if a person’s language is musical, it is highly likely that he will have an absolute ear for music.
A melody heard at least once is stored in our brain all our lives. This is true. American scientists have discovered an area of the cerebral cortex responsible for musical memories. This is the same auditory cortex area that is responsible for the perception of music. It turns out that it is enough for us to hear a melody or song at least once, as it is already stored in this auditory zone. After this, 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 deeply this melody is hidden. Favorite and frequently heard songs are stored in short-term memory. And melodies heard a long time ago or heard rarely are stored in the “closets” of long-term memory. However, some event or sound sequence can suddenly cause our memory to retrieve these forgotten melodies from its “bins” and play them in our brain.
An ear for music 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 musical hearing have less white matter in the inferior 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 do not have an ear for music. They just hear music differently. Animals perceive many more sound frequencies. And if people are able to pick up up to 30,000 vibrations per second, then dogs, for example, register sound with a frequency of 50,000 to 100,000 vibrations per second, that is, they even pick up ultrasound. Although animals have a sense of tact, our pets cannot perceive melody. That is, they do not combine chord combinations of sounds into a specific sequence called a melody. Animals perceive music only as a set of sounds, and some of them are regarded as signals from the animal world.
An ear for music is an ability that is given from above and which cannot be developed. Wrong. Those who entered 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). This is explained simply. The teachers 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 cannot be developed. And if a person doesn’t have it, then music teachers won’t 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 ear for music, if there is a desire.
An ear for music is rare. Wrong. In fact, any person who can speak and perceive speech has it. After all, in order to speak, we must distinguish sounds by pitch, volume, timbre and intonation. It is these skills that are included in the concept of musical ear. That is, almost all people have an ear for music. The only question is what type of musical ear do they have? Absolute or internal? The highest stage of development of musical ear is absolute pitch. It is revealed only as a result of playing music (playing a musical instrument). For a long time it was believed that it could not be developed, but now methods for developing 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 and reproduce them from memory, but not sing. The absence of musical hearing 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 and vocal cords. And this is a skill that is acquired through learning. Almost every person can hear falsehood in singing, but not everyone can sing clearly themselves. Moreover, it often seems to those who sing that they are singing without falsehood, but those around them can see all their mistakes. This is explained by the fact that every 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 is not hitting the notes. In fact, in order to sing well, it is enough to have just a harmonic ear. This level of hearing development is considered one of the lowest. This is the name given to the ability to hear a melody and reproduce it with the 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, you shouldn’t be embarrassed by your lack of hearing. How capable you are of music will only be shown by practicing it. 95% of people can make music and achieve results in it. Moreover, the more you practice music, the more your ear for music 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!