Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-level Musicians

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Oxford University Press, 2000 - Всего страниц: 253
This book is a hands-on investigation of the stages musicians go through as they learn to hear, read, and perform music. It draws on the latest research in music perception and cognition, music theory, and pedagogy, along with centuries of insight from music theorists, composers, and performers.

The first part explores the development of music listening skills, including such broader activities as dictation and transcription, and specific abilities such as meter perception, short-term musical memory, and tonic inference. The second part then examines the skills involved in reading and performing music. It looks at such physical skills as vocal production and eye movements and at such complex integrated tasks as sight-singing transpositions and modulations. Throughout the book the author presents these skills in their musical contexts and emphasizes their roles in the general development of musicality.

Aural Skills Acquisition builds important bridges between music theory, cognitive psychology, and pedagogy. It subjects ideas from music theory to the rigors of psychological testing and combines findings from the psychology of learning with ideas and methods of contemporary music theory. It will prove an invaluable guide for music teachers, music theorists, and psychologists interested in music perception and cognition.

 

Содержание

Introduction
3
Listening Skills
9
TWO Preliminary Listening Skills
19
THREE Melodic Dictation
62
FOUR Polyphonic and Harmonic Dictation
111
FIVE Other Listening Skills
128
Identification of Various Other Compositional
139
SIX Fundamental Reading and Performing Skills
145
SEVEN Sight Reading
158
EIGHT More Complex Reading Skills
194
References
225
Index 245
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Об авторе (2000)

Gary S. Karpinski is Professor of Music and Coordinator of Music Theory at the University of Massachusetts at Amherst. He has served as President of the Association for Technology in Music Instruction, President of the New England Conference of Music Theorists, Board Member for Music Theory for the College Music Society, and as Reviews Editor for the Journal of Music Pedagogy. His research interests include the relationships between cognition studies and musictheory pedagogy, Schenkerian analysis, musical memory, and the interval cycles in twentieth century music.

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