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Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training [Kõva köide]

, (Baldwin-Wallace College, USA)
  • Formaat: Hardback, 580 pages, kõrgus x laius: 276x219 mm, kaal: 1474 g, 1821 Line drawings, black and white
  • Ilmumisaeg: 16-Mar-2010
  • Kirjastus: Routledge
  • ISBN-10: 0415802431
  • ISBN-13: 9780415802437
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  • Formaat: Hardback, 580 pages, kõrgus x laius: 276x219 mm, kaal: 1474 g, 1821 Line drawings, black and white
  • Ilmumisaeg: 16-Mar-2010
  • Kirjastus: Routledge
  • ISBN-10: 0415802431
  • ISBN-13: 9780415802437
Teised raamatud teemal:
Developing Musicianship Through Aural Skills is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as a part of an integrated and holistic curriculum for training professional musicians.









Each chapter is organized to take advantage of how our minds and instincts naturally hear and understand music and provides a variety of exercises for practicing and integrating the structure into your musical vocabulary. Developing Musicianship Through Aural Skills will provide you with the musical terms, progressions, resolutions, and devices that you will be able to draw upon as a functional and usable musical vocabulary. Ear training exercises on the companion website reinforce both discrete structures (intervals, chords, etc.) as well as all rhythmic and melodic material, and sections are provided to open discussion and reflection on the skills and attitudes professional musicians need to be successful.



Features:









Easy to Understand Explanations: Topics are logically ordered and explained to help the student make connections to their theory instruction and common usage.









A Complete Method: Detailed instructions are given for singing and hearing structures as they most commonly appear in music., providing students with a proven, reliable process for creating and discerning musical structures.









Exercises: Ideas for drill, pitch patterns, rhythms, melodies, duets, sing and plays, and examples from the literature help the student to integrate each chapters material.









Reflections: Discussions of topics that help students to develop as a person, a professional, and an artist, and to integrate aural skills into their musical education.















Companion Website: Ear Training tools and video demonstrations. You can find the companion website at www.routledge.com/textbooks/developingmusicianship.
Preface xi
Simple Meter, Rests and Phrases; The Major Mode, Major Triads and Tonic Function
1(87)
Beats, their First Divisions and Multiples, and Simple Meters
1(7)
Second Division and Second Multiple of the Beat in Simple Meter
8(7)
Rests
15(5)
The Phrase
20(5)
Treble and Bass Clefs
25(4)
Major Scales and Major Scale Degrees
29(7)
Major and Minor Seconds
36(10)
Major and Minor Thirds
46(10)
Perfect Fifths and Octaves
56(9)
Major Triads in Root Position
65(8)
Improvisation I: Tonic Function
73(5)
Music from the Literature
78(6)
Reflections: Why Study Solfege?
83(1)
Dictation Materials
84(4)
Compound Meters, Ties and Dots; The Minor Mode and Inverted Triads
88(67)
Compound Meters
88(7)
Ties and Dotted Rhythms in Simple Meter
95(7)
Minor Scales and Minor Scale Degrees
102(9)
Perfect Fourths
111(8)
Major and Minor Sixths
119(9)
Minor Triads in Root Position
128(8)
Major and Minor Triads in Inversion
136(8)
Music from the Literature
144(6)
Reflections: Professionalism
149(1)
Dictation Materials
150(5)
Changing Meter; Second Division in Compound Meter; The Dominant Sound
155(55)
Changing Meter I: Simple Changing Meter
155(5)
Second Division of the Beat in Compound Meter
160(6)
Minor Sevenths and Tritones
166(9)
Dominant Seventh Chords
175(9)
Diminished Triads
184(9)
Improvisation II: Dominant Function
193(6)
Music from the Literature
199(5)
Reflections: Musicality
204(1)
Dictation Materials
204(6)
Triplets and Duplets; Seventh Chords and Predominant Function
210(60)
Irregular Divisions I: Triplets and Duplets
210(10)
Major Sevenths
220(8)
Compound Intervals
228(7)
Major-Major and Minor-Minor Seventh Chords
235(10)
Diminished Seventh Chords
245(9)
Improvisation III: Predominant Function
254(7)
Music from the Literature
261(4)
Reflections: Listening
264(1)
Dictation Materials
265(5)
Less Common Meters; C Clefs and Harmonic Progression
270(23)
Less Common Simple and Compound Meters
270(5)
Reading the Alto and Tenor Clefs
275(7)
Harmonic Progressions
282(1)
Frequently Used Progressions
283(3)
Improvising Melodies Over Harmonic Progressions
286(1)
Progressions for Arpeggiation and Improvisation
287(2)
Reflections: Presevervance
288(1)
Dictation Materials
289(4)
Syncopation; Beginning Non-Modulating Chromaticism
293(34)
Syncopation
293(8)
The Chromatic Scale and Surface Chromaticism
301(9)
Modal Mixture
310(8)
Music from the Literature
318(4)
Reflections: Creativity
321(1)
Dictation Materials
322(5)
Triplets and Duplets; More Non-Modulating Chromaticism
327(55)
Irregular Divisions II: Triplets and Duplets in Augmentation and Diminution
327(8)
Secondary Dominants and Leading Tone Chords
335(12)
The Neapolitan Chord
347(8)
Augmented Sixth Chords
355(8)
Extended and Altered Dominant Chords
363(8)
Music from the Literature
371(5)
Reflections: Confidence
375(1)
Dictation Materials
376(6)
Triplets; Other Clefs; Beginning Modulation
382(37)
Divisions of the Beat into Numbers Greater than Four
382(6)
Reading in Other Clefs
388(2)
Modulation to Closely Related Keys
390(11)
Diatonic Modulation to Distantly Related Keys
401(11)
Music from the Literature
412(4)
Reflections: Performance Preparation
415(1)
Dictation Materials
416(3)
Reading Complex Rhythms; More Complex Modulation
419(31)
Reading Complex Rhythms
419(4)
Direct, Chromatic, and Enharmonic Modulation
423(13)
Rapidly Shifting and Unexpected Tonalities
436(6)
Music from the Literature
442(5)
Reflections: Energy, Space, and Time
445(2)
Dictation Materials
447(3)
Twentieth-century Rhythmic Techniques
450(28)
Changing Meter II: Complex Changing Meter
450(8)
Polyrhythms
458(9)
Asymmetric Meters
467(6)
Reflections: Understanding and Appreciating Twentieth-century Music
472(1)
Dictation Materials
473(5)
Twentieth-century Material based on Tonal Models
478(44)
Pentatonic and Blues Scales
478(9)
The Ecclesiastic Modes
487(8)
Other Scales
495(13)
Polytonality and Polymodality
503(5)
Music from the Literature
508(3)
Non-Western Music from the Literature
511(7)
Reflections: Being an Advocate for Music
518(1)
Dictation Materials
518(4)
Twentieth-century Material based on Non-Tonal Models
522(50)
Whole-tone, Octatonic, and Other Non-Tonal Scales
522(8)
Atonality
530(8)
Atonal Trichords and Manipulating Atonal Sets
538(9)
Larger Atonal Sets and Serial Music
547(6)
Music from the Literature
553(7)
Reflections: A Life of Solfege
559(1)
Dictation Materials
560(3)
Appendices
Appendix A Glossary of Musical Terms
563(4)
Appendix B Syllable Systems
567(3)
Appendix C Using Your Voice
570(2)
Index of Musical Examples 572
Kent D. Cleland is an Associate Professor and Chair of the Department of Music Theory at the Baldwin-Wallace College Conservatory of Music. He holds degrees from Ohio University, Indiana University, and the University of Cincinnati, and he has taught at the University of Cincinnati and Oberlin College.









Mary Dobrea-Grindahl holds the Diplôme Jaques-Dalcroze from the Institute Jaques-Dalcroze in Geneva, Switzerland. She is an Associate Professor of Piano and Chair of the Keyboard Department at the Baldwin-Wallace College Conservatory of Music, where she teaches private piano, pedagogy, Eurhythmics, and solfège.