Autorentext
Timothy Koozin is professor and division chair of Music Theory at the Moores School of Music at the University of Houston. He has published widely in scholarly journals and in collected essays published by Cambridge University Press, Ashgate and Routledge on topics including music and meaning, popular music, film music and music instructional technology. He is former editor of MUSIC THEORY ONLINE, the electronic journal of the Society for Music Theory. Robert Nelson teaches music theory and composition at the Moores School of Music at the University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he also has received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra.Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan and Israel. In addition to CDs with the Albany label, he has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern and Transcontinental. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.

Klappentext
With its wealth of hands-on exercises and contextual listening examples, Horvit/Nelson/Koozin's MUSIC FOR EAR TRAINING, Fourth Edition, helps you quickly improve your listening skills and aural understanding of music theory. The accompanying MindTap digital learning solution will propel you from memorization to mastery. Giving you the flexibility of anywhere, anytime learning, MindTap includes streaming audio for all listening examples, rendered with the highest quality instrumental timbres sampled from all the principal instruments of the orchestra. The most comprehensive resource available for aural training, the repertoire covers basic rudiments (intervals, chords and scales), melodies, four-part harmonic settings and varied textures from musical literature, including music by a wide range of major composers -- from Bach and Beethoven to Debussy and Stravinsky.

Inhalt

Intervals, Triads, and Scales. 2. Rhythmic Dictation: Simple Meters. 3. Melodic Dictation: Fifths, Sixths, and Octaves. 4. Rhythmic Dictation: Beat Subdivision by 2. 5. Rhythmic Dictation: Beat Subdivision by 4: Anacrusis. 6. Rhythmic Dictation: Dots and Ties. 7. Melodic Dictation: The Supertonic Triad. 8. Rhythmic Dictation: Compound Meter. 9. Rhythmic Dictation: Triplets. 10. Examples from Literature. 11. Rhythmic Dictation: Syncopation. 12. Melodic Dictation: Scalar Variants, Modal Borrowing, and Decorative Chromaticism. 13. Melodic Dictation: Secondary Dominants. 14. Examples from Music Literature. 15. Melodic Dictation: Modulation to Closely Related Keys. 16. Rhythmic Dictation: Quintuple Meter. 17. Examples from Music Literature. 18. Rhythm: Irregular Meters. Pitch: Diatonic Modes. Pitch: Changing Clefs. Part Music. 19. Rhythm: Changing Meters. Pitch: Pandiatonicism. 20. Rhythm: Syncopation Including Irregular and Mixed Meters. Pitch: Extended and Altered Tertian Harmony. 21. Pitch: Exotic Scales. 22. Rhythm: Complex Divisions of the Beat. Melodic Dictation: Quartal Harmony. 23. Rhythm: Polyrhythms and Polymeters. Music Dictation: Polyharmony and Polytonality. 24. Melodic Dictation: Interval Music. 25. Melodic Dictation: Serial Music.