Autorentext

Kent D. Cleland is 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 solfège, Eurhythmics, and private piano for over 30 years.

Klappentext

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.

  Inhalt

  Overture (Preface): Why study aural skills?

The Method

Pitch and Rhythm Syllable Systems

Unit 1: Simple Meter, Scales, and Intervals

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

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

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

4: Compound Meters

4a Compound Meter

4b Second Division of the Beat in Compound Meter

4c Less Common Compound Meters

Intermezzo 4: Confidence

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

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

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

8: Chromaticism in Tonal Scalar Structures

8a The Chromatic Scale

8b The Ecclesiastic Modes

8c Blues Scales

8d Synthetic Scales

Intermezzo 8: Performance Preparation

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

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

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

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

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