The traditional method of Music Dictation is that of an instructor playing dictation problems on the piano before a class of students. Although using the piano for dictation is convenient and somewhat effective, there are several inherent problems due to the mono-timbral quality of the piano sound. Consideration of these problems suggests that the piano is rather ill-suited for dictation because:

Using a computer to generate multi-timbral dictation can greatly clarify the perception of individual parts in dictation exercises with two or more parts, thus leading to the achievement of higher levels of skill for students and the potential use of more complex dictation problems. Multi-timbral dictation will illuminate musical detail impossible to discern in traditional piano dictation, thus significantly enhancing teaching effort and learning experience.

In addition, this technology will free the instructor from the piano during dictation classes, and, as the computer plays the dictation exercises, the instructor may circulate in the classroom to observe student work in progress and to offer suggestions and strategies leading to correct solutions. Instructors can easily create and fine-tune specific exercises as required, with great flexibility in difficulty, selection of tempo, and number of repeated passages. Multi-timbral dictation provides the potential for higher levels of difficulty in dictation problems, as well as greater expectations of achievement.

Computer-generated dictation will be error-free and consistent, and will also spawn new ideas and methods of ear training that can be tailored to address the needs of specific classes. In rhythmic dictation, the computer can produce multiple layers of rhythms, that would be quite impractical to produce on the piano. Also, consistency in difficulty level and testing across all sections of dictation classes can be achieved with the computer and MIDI technology.

Any computer-based music notation software can be used to create dictation exercises and examinations. The software used in this demonstration is Finale, available from Coda Music Technology. The dictation file consists of a four-voice staff enabled to produce the contrasting timbres of the flute, oboe, clarinet and bassoon. A "click track" could be added using a variety of percussion sounds for a metronome effect. The file contains nine types of dictation problems, each with one or more individual dictation problems. The capability of the software allows for changing the instrumental sound, and varying the tempo and the number of repeats. Embedded within the file are the measure numbers of the "score," and the number of each individual problem. The measures of rest between each problem allow for stopping the dictation for comment or questions.

#1 Simple rhythmic pattern: A one-measure rhythmic pattern is repeated eight times without pause. The pattern is notated.

#2 Rhythmic patterns: A one-measure pattern followed by one measure of silence is repeated four times. The rhythm is notated. There are five rhythms in contrasting meters in this problem.

#3 Layering of rhythms: Four complimentary rhythms are layered one above the other. The first pattern begins alone in the lowest voice and repeats eight times. As the second pattern enters and repeats eight times the first continues. The remaining two patterns enter and repeat individually in succession as the previous patterns continue. By the fourth measure of the exercise the four patterns are sounding together. The notation of this problem can be written in one measure (see Figure 1, measure 21).

#4 Triad and seventh chord recognition: Individual triads and seventh chords are sounded in a brief musical passage. If each is repeated only once, the type of chord is merely indicated. If each is repeated several times, the complete setting of all voices and rhythms may be notated. Five types of chords are presented in this problem.

#5 Recognition of scalar figures: The key of C major is established in measures 38 and 39. Six five-note scalar figures are individually repeated several times. The figures may be notated as sounded, or the scale degrees may be simply stated, as for example, "5 4 3 2 3." (see Figure 1, measure 45)

#6 Melodic dictation: A four-measure melodic phrase is heard eight times. On the first hearing only a "metronome beat" is provided in a different voice. In subsequent repetitions the melody alone is heard, then notated. An audible beat is helpful in melodic dictation, but it is not necessary that the beat continue throughout the exercise.

#7 Two-part dictation: The key of A major is established by two voices (measures 63 and 64). The same voices are then heard in duet with eight repetitions and are notated.

#8 Three-part dictation: A seven-measure, two-phrase period is repeated several times. The key, meter and a few of the beginning tones in each voice are given. The passage is notated.

#9 Four-part chorale-style dictation: The key, meter and first note of each of the four voices are given for each of the four phrases. The chorale is repeated several times. Each voice is notated, and harmonic analysis and figured bass are indicated.

A printout of the dictation file can serve as an answer key, and a worksheet for writing answers to the various problems can be easily created by renaming the dictation file and then deleting all data that the student is expected to provide. As in any dictation method, success can be made more probable if various elements such as key, meter, first soprano note, first bass note, or the first few notes of each part are provided as "given" information.

Figure 1. Music notation