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E-raamat: Developing Musicianship through Aural Skills: A Holistic Approach to Sight Singing and Ear Training

Kent D. Cleland (Baldwin-Wallace College, USA), Mary Dobrea-Grindahl (Baldwin-Wallace College, USA)

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Ilmumisaeg: 16-Aug-2020
Kirjastus: Routledge
Keel: eng
ISBN-13: 9780429672071

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Formaat: PDF+DRM
Ilmumisaeg: 16-Aug-2020
Kirjastus: Routledge
Keel: eng
ISBN-13: 9780429672071

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"Developing Musicianship through Aural Skills, Third Edition, is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as part of an integrated curriculum, incorporating both sight singing and ear training in onevolume. Under the umbrella of musicianship, this textbook guides students to "hear what they see, and see what they hear," with a trained, discerning ear on both a musical and an aesthetic level. Key features of this new edition include: Revised selection of musical examples, with added new examples including more excerpts from the literature, more part music, and examples at a wider range of levels, from easy to challenging. New instructional material on dictation, phrase structure, hearing cadences, and reading lead sheets and Nashville number charts. An updated website that now includes a comprehensive Teacher's Guide with sample lesson plans, supplemental assignments, and test banks; instructional videos; and enhanced dictation exercises The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students the skills necessary to incorporate professionalism, creativity, confidence, and performance preparation in their music education. Over 1,600 musical examples represent a wide range of musical styles and genres, including classical, jazz, musical theatre, popular, and folk music. The third edition of Developing Musicianship through Aural Skills provides a strong foundation for undergraduate music students and answers the need for combining skills in a more holistic, integrated music theory core"--

Developing Musicianship through Aural Skills, Third Edition, is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as part of an integrated curriculum, incorporating both sight singing and ear training in one volume. Under the umbrella of musicianship, this textbook guides students to "hear what they see, and see what they hear," with a trained, discerning ear on both a musical and an aesthetic level.

Key features of this new edition include:

Revised selection of musical examples, with added new examples including more excerpts from the literature, more part music, and examples at a wider range of levels, from easy to challenging
New instructional material on dictation, phrase structure, hearing cadences, and reading lead sheets and Nashville number charts
An updated website that now includes a comprehensive Teacher’s Guide with sample lesson plans, supplemental assignments, and test banks; instructional videos; and enhanced dictation exercises.

The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students the skills necessary to incorporate professionalism, creativity, confidence, and performance preparation in their music education. Over 1,600 musical examples represent a wide range of musical styles and genres, including classical, jazz, musical theatre, popular, and folk music. The third edition of Developing Musicianship through Aural Skills provides a strong foundation for undergraduate music students and answers the need for combining skills in a more holistic, integrated music theory core.

Preface

xii

The Method

xiv

Syllable Systems

Reading in Clefs

xix

Module 1 Simple Meters

(31)

Module 1a Simple Beats and Their First Division and Multiple Note Values

(1)

Module 1b Simple Duple and Quadruple Meters

(4)

Module 1c Simple Triple Meters

(3)

Module 1d Second Division and Multiple of the Beat in Simple Meters

(3)

Module 1e Rests

(4)

Module 1f Ties and Dotted Rhythms in Simple Meters

(5)

Module 1g The Anacrusis

(5)

Module 1h Less Common Simple Meters

(6)

Module 2 Major and Minor Scales and Scale Degrees

(19)

Module 2a Major Scales and Scale Degrees

(9)

Module 2b Minor Scales and Scale Degrees

(10)

Module 3 Improvisation

(16)

Module 3a Introduction to Improvisation

(3)

Module 3b Methods for Improvisation and Improvising Tonic Function

(4)

Module 3c Improvising Dominant Function

(3)

Module 3d Improvising Predominant Function

(3)

Module 3e Improvising Through Arpeggiation

(3)

Module 4 Compound Meters

(17)

Module 4a Compound Beats and Their First Division and Multiple Note Values

(5)

Module 4b Second Division of the Beat in Compound Meter

(6)

Module 4c Less Common Compound Meters

(6)

Module 5 Intervals

(49)

Module 5a Hearing and Singing Intervals Acontextually

(3)

Module 5b Major and Minor Seconds

(7)

Module 5c Major and Minor Thirds

(6)

Module 5d Perfect Fifths and Octaves

100

(6)

Module 5e Perfect Fourths

106

(6)

Module 5f Major and Minor Sixths

112

(7)

Module 5g Tritones

119

(6)

Module 5h Major and Minor Sevenths

125

(8)

Module 6 Triads

133

(35)

Module 6a Hearing and Singing Acontextual Triads

133

(3)

Module 6b Root Position Major Triads

136

(7)

Module 6c Root Position Minor Triads

143

(9)

Module 6d Inverted Major and Minor Triads

152

(7)

Module 6e Diminished Triads

159

(9)

Module 7 Seventh Chords

168

(47)

Module 7a Singing and Hearing Seventh Chords Acontextually

168

(1)

Module 7b Dominant Seventh Chords in Root Position

169

(9)

Module 7c Dominant Seventh Chords in Inversion

178

(7)

Module 7d Minor Seventh Chords

185

(8)

Module 7e Half-Diminished Seventh Chords

193

(8)

Module 7f Fully-Diminished Seventh Chords

201

(7)

Module 7g Major Seventh Chords

208

(7)

Module 8 Common Diatonic Harmonic Progressions

215

(37)

Module 8a Cadences and Phrasing

215

(9)

Module 8b The TPDT Progression

224

(7)

Module 8c Circle of Fifths Progressions

231

(7)

Module 8d Filled-In Descending Thirds (Pachelbel) Progressions

238

(7)

Module 8e Ascending Sequential Progressions

245

(7)

Module 9 Irregular Division and Syncopation

252

(49)

Module 9a Triplets

252

(6)

Module 9b Duplets

258

(5)

Module 9c Syncopation Within a Measure (Intra-measure Syncopation)

263

(8)

Module 9d Syncopation Across a Barline (Inter-measure Syncopation)

271

(7)

Module 9e Triplets in Augmentation and Diminution

278

(8)

Module 9f Other Divisions of the Beat

286

(8)

Module 9g Reading Complex Rhythms

294

(7)

Module 10 Non-modulating Chromaticism

301

(53)

Module 10a The Chromatic Scale and Surface Chromaticism

301

(7)

Module 10b Modal Mixture

308

(8)

Module 10c Secondary Chords in the Major Mode

316

(9)

Module 10d Secondary Chords in the Minor Mode

325

(8)

Module 10e Neapolitan and Augmented Sixth Chords

333

(9)

Module 10f Extended, Added Note, and Altered Chords

342

(12)

Module 11 Modulation

354

(36)

Module 11a Techniques for Modulation

354

(2)

Module 11b Modulation Between Relative Keys

356

(9)

Module 11c Modulation to the Dominant

365

(8)

Module 11d Modulation to Other Closely Related Keys

373

(7)

Module 11e Modulation to Distantly Related Keys

380

(10)

Module 12 Changing Meter, Polyrhythm, and Asymmetric Meters

390

(27)

Module 12a Changing Meter

390

(5)

Module 12b Metric Modulation

395

(6)

Module 12c Polyrhythms and Polymeters

401

(8)

Module 12d Meters with Unequal Beats

409

(8)

Module 13 Other Tonally Derived Scales

417

(34)

Module 13a Pentatonic and Blues Scales

417

(9)

Module 13b The Ecclesiastic Modes

426

(10)

Module 13c Synthetic Scales

436

(9)

Module 13d Polytonality and Polymodality

445

(6)

Module 14 Post-tonal Music

451

(22)

Module 14a Whole Tone and Octatonic Scales

451

(9)

Module 14b Post-tonal Music

460

(13)

Appendices

473

(1)

Appendix A Glossary of Non-English Musical Terms

473

(2)

Appendix B Using Your Voice: Suggestions for Vocal Production for Non-singers

475

(2)

Index of Literature Examples

477

(10)

Credits

487

Kent D. Cleland is Professor of Music Theory at the Baldwin Wallace Conservatory of Music, where he has taught music theory and aural skills since 1999.

Mary Dobrea-Grindahl is Professor of Piano and Chair of the Department of Keyboard Studies at the Baldwin Wallace Conservatory of Music, where she teaches solfčge, Eurhythmics, and private piano.

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