Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
67
result(s) for
"Musical dictation."
Sort by:
Building Better Dictation Skills
Melodic dictation plays an important role in music theory classes, but instruction is often based on tradition rather than research. Dictation teachers and students do not just need more exercises and drills; they need to see deeper into the materials, consider how we connect to them, and practice wisely. Building Better Dictation Skills offers teachers and students the \"why\" and \"how\" of melodic dictation, through research-based exercises aimed at developing proactive musical listening. During dictation, students must actively involve themselves in the unfolding of an unfamiliar melody—using all of their musical skills in a concerted effort—to get into the composer's mind and understand what is played. The author's published research, on which this book is based, provides a level of insight unlikely to be discovered simply through drilling more melodies. Building Better Dictation Skills provides music educators and students with a concise, specific, and affordable resource that focuses on what they really need: dictation strategies aimed at learning beyond the \"right answer.\"
eBook
Teaching Melodic Dictation in Advanced Placement Music Theory
This study approaches to teaching melodic dictation skills of Advanced Placement (AP) Music Theory were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic \"bookends,\" focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants' positive attitudes toward a standardized test and their concern for the students' psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students' difficulties with rhythmic notation also was found. Recommendations for further research include a largescale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students' reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.
Journal Article
Aural and the University Music Undergraduate
Research indicates that aural skills are vital in developing musical expertise, yet the precise nature of those skills and the emphasis placed upon them in educational contexts merit closer attention and exploration. This book assesses the relevance of aural in a university music degree and as a preparation for the professional career of a classical musician. By way of the discussion of four empirical studies, two main areas are investigated: firstly, the relationship between university music students' aural ability and their overall success on a music degree programme, and, secondly, the views of music students and professional musicians about aural and its relevance to their career are analysed. The subject is investigated particularly in the light of the current socio-educational background of the past fifty years, which has greatly influenced the participation of music and the study and development of musicianship. Many related issues are touched upon as part of the research for this project, and these emerge as relevant topics in the discussion of aural. Apart from students' and musicians' views on training and singing, aspects considered include the role of improvisation, memorisation and notation, examinations, absolute pitch and the affinity with language, all of which have a part to play in the debate about the importance of aural.
eBook
The mind's ear : exercises for improving the musical imagination for performers, composers, and listeners
The Mind's Ear offers a unique approach to stimulating the musical imagination and inspiring creativity, providing exercises for listeners, performers, and composers in a practical guide that benefits music students at all levels and helps teachers be more effective. Adolphe has written a compelling, valuable guide to the musical imagination.
eBook
Improving Dictation as an Aural-Skills Instructional Tool
Many high schools in the U.S. offer Advanced Placement (AP) courses in music theory for students wishing to study music at the college level. Others devote part of the music curriculum to theory and aural-skills instruction, but do not offer AP courses. In either case, high school theory and aural-skills courses typically strive to cover all, or part, of the material presented in first-semester college theory and aural-skills courses. Music dictation is a mainstay in most college aural-skills classes, and the College Board advocates including dictation in AP music theory courses. However, dictation's effectiveness as a tool for developing listening skills varies considerably, depending on how dictation exercises are constructed and implemented. This article examines some traditional dictation practices, identifies perceptual skills required to listen to music critically, and offers strategies for acquiring and integrating broader listening skills that will more directly develop students' critical listening and musicianship. (Contains 3 figures and 5 notes.)
Journal Article
The Relationship Between Sight Singing Achievement and Melodic Dictation Achievement
In this investigation, the relationship between performances on one sight singing assessment and one melodic dictation assessment was examined. Administered to university music students as pretests and posttests during a first semester aural perception course, both assessments were similarly comprised of diatonic steps and skips from the tonic and dominant triads in the key of G major and were presented in common meter with no rhythmic value smaller than an eighth note. Moderate to moderately strong relationships (r = .57 - .68) among pretests and posttests were observed, as was a predictive relationship between pretest and posttest sight singing (R = .68, R2 = .47). The following were recommended: 1) further study of the relationships with more control of prior musical experiences, 2) study of sight singing instruction and achievement as affected by parallel work in melodic dictation, 3) study of limits innate ability may impose on sight singing achievement.
Journal Article
Faces and Masks: Peter Shaffer's \Amadeus\ from Stage to Screen
Tibbets comments on the film adaptation of Peter Shaffer's Amadeus, which was originally done as a play at London's National Theatre in 1979. As compared to the play, Wolfgang Amadeus Mozart's role in the film has been greatly expanded from a supporting role to one co-equal with Antonio Salieri; and they emerge more fully fleshed out and more sympathetic characters. He opines that if art does not exactly imitate life, in this case, the movie, which was directed by Milos Forman, effectively conveyed and confirmed the myth of Mozart as the passive servant of the Music of the Spheres--or, at least, as the auditor of the music of prerecorded Neville Marriner and the Academy of St Martin-in-the-Fields.
Journal Article
