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Download Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training fb2, epub

by Mary Dobrea-Grindahl,Kent D. Cleland

Download Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training fb2, epub

ISBN: 041580244X
Author: Mary Dobrea-Grindahl,Kent D. Cleland
Language: English
Publisher: Routledge; 1 edition (February 6, 2010)
Category: Music
Subcategory: Art
Rating: 4.1
Votes: 557
Size Fb2: 1632 kb
Size ePub: 1985 kb
Size Djvu: 1575 kb
Other formats: lit rtf mobi doc


Mary Dobrea-Grindahl holds the Diplôme Jaques-Dalcroze from the . The book actually calls to mind Ron Gorow’s excellent ‘Hearing and Writing Music’, geared more explicitly towards commercial musicians.

Mary Dobrea-Grindahl holds the Diplôme Jaques-Dalcroze from the Institute Jaques-Dalcroze in Geneva, Switzerland. The authors of ‘Developing Musicianship Through Aural Skills’ believe that pitch relationships should always be conceived, comprehended and executed within the context of diatonic harmony – either specific major/minor scales or derived from underlying chords in a particular harmonic setting.

Kent D. Cleland, Mary Dobrea-Grindahl. A textbook for learning to hear, sing, understand, and use the foundations of music as a part of an integrated curriculum for musicians. It provides you with the musical terms, progressions, resolutions, and devices that you can draw upon as a functional and usable musical vocabulary

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

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 Coordinator of Secondary Piano at the Baldwin Wallace Conservatory of Music, where she teaches solfège, Eurhythmics, pedagogy, and private piano. Библиографические данные. Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training.

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Save up to 80% by choosing the eTextbook option for ISBN: 9781135008529, 1135008523. The print version of this textbook is ISBN: 9780415855204, 0415855209. And it doesn't matter what device you have. Read all your eTextbooks on any laptop, tablet, or smartphone.

by Kent D. Cleland & Mary Dobrea-Grindahl. required for the music theory sequence (theory, ear training/sight singing, keyboard harmon. Sight singing through melodic analysis : a guide to the study of sight singing and an aid to ear. 352 Pages·2005·34. 6 MB·738 Downloads·New!. Next Generation Earth System Prediction: Strategies for Subseasonal to Seasonal Forecasts. Intelligence Analysis for Tomorrow: Advances from the Behavioral and Social Sciences. 116 Pages·2011·554 KB·21,643 Downloads·New!

Two characteristics distinguish Developing Musicianship through Aural Skills: A Holistic. Cleland and Dobrea-Grindahl's twelve-chapter design can be coordinated easily with a four-semester instructional format

Two characteristics distinguish Developing Musicianship through Aural Skills: A Holistic. Cleland and Dobrea-Grindahl's twelve-chapter design can be coordinated easily with a four-semester instructional format. Even a cursory examination of content reveals logical rhythm and pitch milestones every three chapters. According to the authors, each chapter is designed to take approximately five weeks for an average undergraduate class to master.

Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training, . 55. a b Caplin, William E. (2013). Analyzing Classical Form: An Approach for the Classroom, . 0. Bartlette, Christopher, and Steven G. Laitz (2010). New York: Oxford University Press. ISBN 978-0-19-537698-2. Benjamin, Horvit, Koozin, and Nelson (2014), . 53. Forte, Allen (1979). Tonal Harmony in Concept and Practice, . 5.

Hello Eggrollers! Today we are MASTERING Aural Skills, Ear Training & Sight Singing with Sight Reading and songs with excerpts from the book "Developing Musicianship through Aural Skills" by Kent D. Cleland and Mary Dobrea-Grindahl.

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 chapter’s 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.

Comments:

Aradwyn
this is an outstanding book to go through all the basics of ear training for both the beginner and the professional.
Porgisk
This book is consistent with keeping your sight-singing skills up to par. However, as far as aural skills it is lacking.
Global Progression
I received a free item to review.

It would be a mistake to regard ‘Developing Musicianship Through Aural Skills’ as just another sight-singing text/anthology with an isolated chapter or two of rhythmic studies.

The scope and pedagogic intent here are nothing short of building an aural skillset to carry musicians through professional careers as composers, arrangers, conductors, theorists, performers - including improvisers. The authors' recurring point is that aural comprehension in a tonal context is a must-have prerequisite for substantive creative musical work.

But that’s not to say the book is a pitch-only affair. Rhythm and meter are given equal footing from the very first module - composed entirely of examples of simple meter using basic subdivisions, and including anacrusis.

This material is not just meant to be ‘clapped through’ and forgotten. Students are asked to notate rhythmic elements, sound the rhythms without pitch, and ‘vocalize’ a particular voice, performing solo or with a partner. Many rhythmic examples are abstracted single and multi-voice works intended to prep the student for comparable literature before incorporating pitch elements.

As the degree of chromaticism in the melodic material progresses through successive modules so do the rhythmic challenges through complex meters, syncopation, polyrhythms and irregular divisions. The complexity rivals anything in Hindemith’s famous book of exercises for musicians.

There are often competing ideas on how best to teach aural skills in the context of tonal music, whether classical, jazz or popular. ‘Relative Pitch’ deals with abstracted intervals and chords often taught and drilled outside of actual musical context. Various vocalization techniques incorporate fixed and movable ‘Do’, functional numbers or neutral syllables.

The authors of ‘Developing Musicianship Through Aural Skills’ believe that pitch relationships should always be conceived, comprehended and executed within the context of diatonic harmony – either specific major/minor scales or derived from underlying chords in a particular harmonic setting.

They authors emphasize this method provides the student with a more solid connection to actual music, enhancing enthusiasm and the learning process itself. They favor ‘movable Do’ to label pitches but they’re not dogmatic about it and encourage students to embrace their teacher’s choice and above all strive for consistency.

The method of presentation in the book’s modules generally places rhythmic exercises first, followed by pitch patterns that emphasize tonal relationships (similar to scale fragments) to be studied outside of specific melodic contexts. The pitch patterns function as ‘lab studies’ allowing the student to focus on and absorb the tonal forces that later reveal their musical application in actual literature. It’s only after these patterns are comfortably assimilated that actual melodic material presented.

Once this feeling for tonal context is established by taking apart major and minor scales, then larger interval patterns, triads and seventh chords are introduced. But instead of learning them simply as abstract entities, the student incorporates them into an evolving ‘tonal consciousness’.

The musical examples are primarily 17th-19th century common practice classical literature – but not exclusively. Aside from later 20th century examples of post-tonal melody, there are a number jazz and various world/ethnic music examples.

There’s a module covering improvisation but this is improvisation in a rather free tonal classical context – think organ improvisation. Perhaps it’s something to stir the imaginations of classically-oriented composers and arrangers. While by no means a jazz theory book, jazz musicians whose interests include classical music might pick up some fresh ideas and perspective here.

And while the book is not a harmony text, astute readers will absorb much ‘applied harmony’ and the book makes an excellent supplement to a dedicated harmony text.

As mentioned, there’s an overall progression towards more and more chromatic material including mixed modes, extended and altered dominant chords, remote and chromatic modulations before the book makes the conceptual leap where few ear training books dare to tread: post-tonal music. Here in the final chapters the concept of ‘tonal context’ used throughout is refined, but never completely jettisoned.

The book presents what the authors deem to be two year’s worth of material - but that’s subject to reduction and restructuring to meet specific needs.In addition to the intended aural training, the book can serve additional practical needs: Composers and arrangers will find of treasure trove of melodic practice to emulate, set, vary and build upon. Instrumentalists can practice transposition and sight-reading.

The ‘Intermezzo’ sidebar essays inserted throughout the book on topics including ‘Professionalism’, ‘Musicality’, ‘Listening’ and ‘Perseverance’ are surprisingly interesting meditations on professional musical life that ring true.

The book actually calls to mind Ron Gorow’s excellent ‘Hearing and Writing Music’, geared more explicitly towards commercial musicians. In my opinion ‘Developing Musicianship Through Aural Skills’ has just as much to offer experienced musicians as it does aspiring students and is well-worth examining for a ‘how best to apply’ path to commit time to.
Sha
An excellent book at an unpalatable price. Incorporates a 'key-centered' approach that's difficult to find and way superior to what I learned in music school years ago.
Altad
Awesome
CONVERSE
A book for students and the publishers price it at $138? This is beyond bizarre. Also, the price differential for the hardbound edition is usurious and totally unrelated to the actual additional cost of production, which is only a couple of dollars. It's really irrelevant whether the book is good or bad, as few of its target audience will be able to afford it. If teachers set it as a course book, it will cause financial hardship for many of their pupils. Shame on everyone involved.

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