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Developing Musicianship Through Aural Skills

Developing Musicianship Through Aural Skills

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Published by cumin
aural skills text
aural skills text

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Published by: cumin on Apr 21, 2014
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Developing Musicianship through Aural Skills
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 trainingprofessional musicians. Each chapter is organized to take advantage of how our minds and instincts naturally hear and understandmusic, and presents 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, pro-gressions, 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 discussionand reflectiononthe skills and attitudes professional musicians need to be successful.
Features:Easy to Understand Explanations:
 Topics are logically ordered and explained to help the student makeconnections to their theory instruction and common usage.
 AComplete Method:
Detailed instructions are given for singing and hearing structures as they mostcommonly appear in music, providing students with a proven, reliable process for creating and discerningmusical structures.
Exercises:
Ideas for drill, pitch patterns, rhythms, melodies, duets, self-accompanied melodies, andexamples fromthe 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.
Ear Training Tools and Video Demonstrations
can be found on the companion website.
Kent D. Cleland
is Associate Professor and Chair of the Department of Music Theory at the Baldwin- Wallace College Conservatory of Music. He holds degrees from Ohio University, Indiana University, andthe University of Cincinnati, and he has taught at the University of Cincinnati and Oberlin College.
Mary Dobrea-Grindahl 
holds the Diplôme Jaques-Dalcroze from the Institute Jaques-Dalcroze in Geneva, Switzerland. She is Associate Professor of Piano and Chair of the Keyboard Department atthe Baldwin-Wallace College Conservatory of Music, where she teaches private piano, pedagogy,Eurhythmics, and solfège.

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