Learning by Ear

Presenter: Marianne Lie


How can teaching aural copying create a greater degree of musical freedom within the Western classical genre? Western classical education, based in interpreting and reading scores, activates the “thinking” mind, as the auditive method activates a more embodied understanding of the music, as well as creating creative musicians.

The musical society of today have most musicians working as portfolio musicians with diversified careers. There is a need for developing skills for the musical world of today to create work relevance for today’s music students. I teach the western classical master-apprentice method, and as well the aural imitation method inspired by how jazz, folk and rock/ pop musicians learn.

The project seems to be very beneficial for the students. “It feels like the music has a shortcut to my inner self”, explained one of the students. This inner ear is also developed with the more traditional way of learning, but our aim is to develop the ear-mind-finger connection to be able to realize on your instrument what one hears in one’s head.

Time will show whether the method also naturally leads to an enhancement in the ability to listen to music and if it will facilitate a form of integrated music.


MARIANNE BAUDOUIN LIE is active as a performing cellist and chamber musician, and completed her PhD in contemporary music performance in 2018. She studied at the Royal College of Music in London, Musikhögskolan in Gotheborg, Barratt- Dues Musikkinstitutt, Oslo and NTNU Department of Music in Trondheim where she is now a teacher.

She is an instigator for contemporary music and works with both classical, jazz and crossover music ensembles. Her discography contains several records both with Trondheimsolistene, Trondheim Jazzorchestra, Trondheim Sinfonietta, Alpaca Ensemble and two solo albums. Her first solo recording «Khipukamayuk», was nominated for the Norwegian Grammy award “Spellemannsprisen” in 2016.

Together with her Alpaca ensemble she was awarded the “Performer of the Year” award from the Norwegian Composers Society in 2020. At the moment she has a three-year work grant from the Norwegian State Arts Council.

Principal Sponsor