Developing Musicianship through Aural Skills, Fourth 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 and additional easy and intermediate examples
Several modules have been reorganized to enhance pedagogy and reflect instructor practice, including sections on ties and dotted notes; pentatonic scales; intervals; seventh chords; chromaticism in tonal scalar structures; and post-tonal music
Revised and updated 'Intermezzo' chapters offering reflections on a variety of subjects related to building a career as a musician
Supporting Online Resources now include enhanced identification and dictation instruction.
The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students with 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 fourth 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.
Auflage
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Undergraduate Core
Illustrationen
3104 s/w Abbildungen, 3104 s/w Zeichnungen, 15 s/w Tabellen
15 Tables, black and white; 3104 Line drawings, black and white; 3104 Illustrations, black and white
Maße
Höhe: 280 mm
Breite: 210 mm
ISBN-13
978-1-032-99612-7 (9781032996127)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Kent D. Cleland is a Distinguished 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 Emeritus Professor of Piano at the Baldwin Wallace Conservatory of Music, where she taught solfege, Eurhythmics, and private piano for over 30 years.
Autor*in
Baldwin-Wallace College, USA
Baldwin-Wallace College, USA
Overture (Preface): Why study aural skills?
The Method
Pitch and Rhythm Syllable Systems
Unit 1: Simple Meter, Scales, and Intervals
Chapter 1: Simple Meters
1a Simple Beats and Their First Division and Multiple Note Values
1b Simple Duple and Quadruple Meters
1c Simple Triple Meters
1d Second Division and Multiple in Simple Meters
1e Rests
1f Tied and Dotted Rhythms in Simple Meter
1g The Anacrusis
1h Less Common Simple Meters
Intermezzo 1: Professionalism
Chapter 2: Tonal Scales and Scale Degrees
2a Reading Pitches on a Staff
2b Major Scales and Scale Degrees
2c Minor Scales and Scale Degrees
2d How to Sing a Melody at Sight
2e Major and Minor Pentatonic Scales
Intermezzo 2: Musicality
Chapter 3: Intervals
3a The Process for Singing and Hearing Intervals
3b Group 1 Intervals (Ascending M2, M3, P5, Descending m2 and P4)
3c Group 2 Intervals (Reverse of Group 1 Intervals and the Minor 3rd)
3d Group 3 Intervals (Tritones, Sixths, and Sevenths)
3e Introduction to Melodic Improvisation
Intermezzo 3: Listening
Unit 2: Compound Meter and Diatonic Chords
Chapter 4: Compound Meters
4a Compound Meter
4b Second Division of the Beat in Compound Meter
4c Less Common Compound Meters
Intermezzo 4: Confidence
Chapter 5: Diatonic Triads
5a The Process for Singing and Hearing Triads
5b Root Position Major Triads
5c Root Position Minor Triads
5d Inversions of Major and Minor Triads
5e Diminished Triads
5f Improvising through Arpeggiation
5g Common Harmonic Progressions I: TPDT, Circle of Fifths, Pachelbel
Intermezzo 5: Creativity
Chapter 6: Diatonic Seventh Chords
6a The Process for Singing and Hearing Seventh Chords
6b Dominant Seventh Chords
6c Seventh Chords in the Major Mode
6d Seventh Chords in the Minor Mode
6e Arpeggiation and Improvisation Using Seventh Chords
6f Common Harmonic Progressions II: Doo-Wop, Ascending Seconds, and Rhythm Changes
Intermezzo 6: Perseverance
Unit 3: Irregular Divisions of Beats, Chromaticism, and Modulation
Chapter 7: Irregular Divisions of Beats
7a Beat-Level Triplets
7b Duplets
7c Triplets in Augmentation and Diminution
7d Other Divisions of the Beat
Intermezzo 7: Energy, Space, and Time
Chapter 8: Chromaticism in Tonal Scalar Structures
8a The Chromatic Scale
8b The Ecclesiastic Modes
8c Blues Scales
8d Synthetic Scales
Intermezzo 8: Performance Preparation
Chapter 9: Chromaticism in Tonal Harmonic Structures
9a Modal Mixture
9b Secondary Chords in the Major Mode
9c Secondary Chords in the Minor Mode
9d Neapolitan and Augmented 6th chords
9e Lead Sheets that Use Chromatic Chords
Intermezzo 9: Working with Other Musicians
Chapter 10: Syncopation
10a Syncopation Within a Measure (Intra-Measure Syncopation)
10b Syncopation Across a Barline (Inter-Measure Syncopation)
10c Syncopation in Compound Meters
Intermezzo 10: Appreciating Diverse Musical Styles
Chapter 11: Music that Modulates
11a Techniques for Modulation
11b Modulation Between Relative Keys
11c Modulation to the Dominant and Subdominant
11d Modulation to Other Closely Related Keys
11e Modulation to Distantly Related Keys
Intermezzo 11: Taking Care of Yourself
Unit 4: Advanced Rhythmic Concepts and Post-Tonal Music
Chapter 12: Advanced Rhythmic Concepts
12a Changing Meter
12b Metric Modulation
12c Polyrhythms and Polymeters
12d Meters with Unequal Beats
Intermezzo 12: Building a Career in Music
Chapter 13: Post-Tonal Music
13a Polytonality and Polymodality
13b Whole-Tone and Octatonic Scales
13c Post-Tonal Music
Coda: Living a Life in Music and Being an Advocate for Your Art
Appendices:
Appendix A Process for Taking Rhythmic Dictation
Appendix B Process for Taking Harmonic Dictation
Appendix C Process for Taking Melodic Dictation
Glossary
Index of Musical Examples
Permissions
