Tools

LEADER 09609cam 2200421 a 4500

001 ocm37495249;

003 OCoLC;

005 20240430153652.0;

008 970902s1997 nyua 001 0 eng d;

010 a| 97190058;

020 a| 1880157519;

020 a| 9781880157510;

035 a| (Sirsi) o37495249;

035 a| (OCoLC)37495249;

049 a| EREM;

050 00 a| MT35b| .G73 1997;

082 00 a| 781.4/242| 21;

100 1 a| Gottschalk, Arthur,d| 1952-=| ^A833547;

245 10 a| Functional hearing :b| a contextual method for ear training /c| Arthur Gottschalk & Phillip Kloeckner.;

246 30 a| Contextual method for ear training;

300 a| xvi, 493 pages :b| illustrations ;c| 28 cm;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

500 a| Includes indexes.;

505 0 a| Area I. Hearing the essential elements of music. Fundamentals. Major and minor scales. The chromatic scales -- Rhythm. Simple duple and triple meters. Meter -- Learning to hear intervals. Perfect octaves, unisons, fifths, and fourths. Intervals ; Interval quality ; Perfect octaves and perfect fourths ; Intervals and the overtone series ; Consonance and dissonance -- Dictation. Guidelines for melodic dictation -- Melodic constructs. Incorporating perfect octaves, unisons, fifths, and fourths -- Learning to hear intervals. Major thirds and minor sixths. Interval quality ; Major thirds and minor sixths ; The law of the half step -- Melodic constructs. Incorporating major thirds and minor sixths -- Learning to hear intervals. Minor thirds and major sixths. Diatonic locations ; Scale-degree function -- Melodic constructs. Incorporating minor thirds and major sixths -- Learning to hear intervals. Major seconds and minor sevenths. Diatonic locations of two dissonant intervals ; Unique functional characteristics -- Melodic constructs. Incorporating major seconds and minor sevenths -- Learning to hear intervals. Minor seconds and major sevenths. Recognizing interval distances ; Tendencies of major sevenths -- Melodic constructs. Incorporating minor seconds and major sevenths -- Learning to hear intervals. Diminished fifths/augmented fourths and diminished sevenths/augmented seconds. Diminished fifths and augmented fourths ; Diminished sevenths and augmented seconds -- Melodic constructs. Incorporating diminished fifths/augmented fourths and diminished sevenths/augmented seconds -- Rhythm. Compound duple and triple meters. Division into three ; The numerator and beat structure in compound meters -- Learning to hear intervals. Compound intervals -- Melodic constructs. Incorporating compound intervals -- Learning to hear intervals. Harmonic intervals -- Dictation. Harmonic intervals -- Dictation. Guidelines for two-part rhythmic dictation. Two-part dictation ; Hearing the composite rhythm ; Completing the dictation -- Rhythm. Two-part rhythms in simple meters -- Rhythm. Two-part rhythms in compound meters -- Melody. Sight-singing -- Area II. Hearing quality, function, and inversion in triads. Learning to hear chords. Root-position triads in the major mode. Triads in root position ; Chord quality ; Triads as arpeggios ; Function -- Fundamentals. Functional harmony. Harmonic function ; Chord progressions ; Root relationships ; Chord patterns -- Learning to hear function. Root-position triads in harmonic progressions. Three-chord progressions ; Longer progressions ; Cadence ; Progressions of root-position triads -- Fundamentals. Triads in inversion. First inversion ; Second inversion ; Summary -- Learning to hear chords. Triads in inversion. Triadic possibilities ; Inversions of triads ; The identification of function ; The role of inversions -- Fundamentals. Figured bass. Analyzing and figuring bass lines -- Learning to hear function. Major-mode progressions incorporating inverted triads -- Melody. Soprano and bass lines in the major mode -- Rhythm. Dual-identity divisions. Dual metric identity ; Duple and triple divisions ; Rhythmic dictation -- Dictation. Bass lines. Analyzing harmonic possibilities -- Learning to hear chords. Triads in the minor mode. Notational convention for the minor mode ; Diatonic triads in root position ; Inversion of minor-mode triads -- Melody. Soprano and bass lines in the minor mode -- Area III. Hearing quality, function, and inversion in seventh chords. Learning to hear chords. Seventh chords in the major mode. Classifying seventh chords ; Identifying chord quality ; First inversion of seventh chords ; Other inversions of seventh chords ; Using quality and inversion to identify seventh chords -- Learning to hear function. Major-mode progressions incorporating seventh chords -- Learning to hear chords. Seventh chords in the minor mode. The diminished seventh chord -- Learning to hear function. Minor-mode progressions incorporating seventh chords -- Fundamentals. Sequences. Recognizing sequence -- Learning to hear function. Sequence in progressions incorporating seventh chords -- Melody. Sequence and implied seventh chords -- Rhythm. Asymmetric meters. Patterns of accents -- Melody. Soprano and bass lines incorporating sequence and implied seventh chords --;

505 0 a| Area IV. Hearing secondary functions and modulations. Learning to hear function. Secondary dominant -- Learning to hear function. Progressions incorporating secondary dominants. Major mode ; Minor mode -- Secondary pre-dominants. Goal harmonies ; Minor mode -- Progressions incorporating secondary pre-dominants -- Melody. Implied secondary functions -- Transposition. Clefs and transposing instruments. Transposing without clefs -- Transposing at sight -- Rhythm. More about composite rhythm. Performance ; Dictation -- Fundamentals. Modulation. Modulation vs. tonicization ; Common-chord modulation -- Learning to hear function. Progressions that modulate -- Melody. Melodies and duets that modulate -- Area V. Hearing and performing in multiple parts. Dictation. Guidelines for four-part dictation. Soprano and bass lines ; Voice leading -- Four-part homophony. Incorporating diatonic seventh chords -- Adding nonchord tones to four-part homophony. Nonchord tones ; Suspensions -- Melody. Compositions for ensembles -- Fundamentals. Canon and imitation. Analyzing canons ; Writing canons -- Melody. Canon and imitative counterpoint -- Rhythm. Canon and hocket -- Area VI. Hearing chromaticism. Fundamentals. Chromaticism. Decorative chromaticism ; Modal borrowing -- Learning to hear function. Progressions incorporating chromaticism -- Melody. Incorporating chromaticism -- Fundamentals. Altered chords. Altered dominants ; Neapolitan sixths ; Augmented sixth chords ; Function of altered chords -- Learning to hear function. Progressions incorporating altered chords -- Melody. Implied altered chords -- Rhythm. Two against three. Combining duplets with triplets ; Other combinations -- Melody. Ensembles incorporating chromaticism -- Area VII. Hearing in nonfunctional contexts. Fundamentals. Modes and nontonal scales. Ecclesiastical modes ; The pentatonic scale ; The whole-tone scale ; The octatonic scale ; Summary -- Melody. Modes and nontonal scales -- Melodic constructs. Pitch-class sets -- Rhythm. Further subdivisions and combinations. Groupings of five ; Ratios involving five ; Groupings of seven ; Reading complex rhythms -- Melodic constructs. All-chromatic sets -- Melody. Nonfunctional contexts -- Appendix: tables and exercises in La-based minor.;

520 a| Though the teaching of aural skills is one of the most important tasks facing the college-level music educator, it is often one of the most problematic, sometimes the most feared. Some of this apprehension undoubtedly arises from the lack of effective pedagogical tools that can reliably and more completely address the needs of the discipline. This text fills this void with its unique method of comprehensive ear training. This book not only presents melodies for dictation and sight-singing, but also instructs students in how to develop the skills and strategies to hear and sight-sing unfamiliar music. In addition to presenting harmonic and rhythmic dictations, students are also shown how to listen and use their theoretical knowledge to comprehend the harmonic and rhythmic contexts in which they are listening. The book is divided into seven areas which include: Hearing the Essential Elements of Music; Hearing Quality, Function, and Inversion in Triads; Hearing Quality, Function, and Inversion in Seventh Chords; Hearing Secondary Functions and Modulations; Hearing and Performing in Multiple Parts; Hearing Chromaticism; and Hearing in Nonfunctional Contexts. Together, they incorporate unique and groundbreaking ways to train the ears of developing musicians and to encourage them to acquire a high level of aural skill. This book is intended to be used in any aural skills sequence lasting from two to seven semesters, or as a companion text in most traditional courses in music theory.;

650 0 a| Ear training.=| ^A32827;

650 0 a| Musicx| Instruction and study.=| ^A18874;

700 1 a| Kloeckner, Phillip,e| author.=| ^A1201565;

949 a| MT35 .G73 1997w| LCh| JMUSIC53i| 30372017615755o| jjam;

994 a| C0b| ERE;

596 a| 3;

998 a| 6340205;

999 a| MT35 .G73 1997w| LCc| 1i| 30372017615755f| 6/3/2024g| 1l| MCOSm| JMUSICr| Ys| Yt| MCOSBKu| 4/15/2024x| BOOKz| MCIRCo| .STAFF. jjam; gift;

Functional hearing : a contextual method for ear training / Arthur Gottschalk & Phillip Kloeckner.

Author/creator	Gottschalk, Arthur, 1952-
Other author	Kloeckner, Phillip, author.
Format	Book
Publication Info	New York, N.Y. : Ardsley House Publishers, ©1997.
Description	xvi, 493 pages : illustrations ; 28 cm
Subjects	Ear training. Music--Instruction and study.

Portion of title	Contextual method for ear training
Contents	Area I. Hearing the essential elements of music. Fundamentals. Major and minor scales. The chromatic scales -- Rhythm. Simple duple and triple meters. Meter -- Learning to hear intervals. Perfect octaves, unisons, fifths, and fourths. Intervals ; Interval quality ; Perfect octaves and perfect fourths ; Intervals and the overtone series ; Consonance and dissonance -- Dictation. Guidelines for melodic dictation -- Melodic constructs. Incorporating perfect octaves, unisons, fifths, and fourths -- Learning to hear intervals. Major thirds and minor sixths. Interval quality ; Major thirds and minor sixths ; The law of the half step -- Melodic constructs. Incorporating major thirds and minor sixths -- Learning to hear intervals. Minor thirds and major sixths. Diatonic locations ; Scale-degree function -- Melodic constructs. Incorporating minor thirds and major sixths -- Learning to hear intervals. Major seconds and minor sevenths. Diatonic locations of two dissonant intervals ; Unique functional characteristics -- Melodic constructs. Incorporating major seconds and minor sevenths -- Learning to hear intervals. Minor seconds and major sevenths. Recognizing interval distances ; Tendencies of major sevenths -- Melodic constructs. Incorporating minor seconds and major sevenths -- Learning to hear intervals. Diminished fifths/augmented fourths and diminished sevenths/augmented seconds. Diminished fifths and augmented fourths ; Diminished sevenths and augmented seconds -- Melodic constructs. Incorporating diminished fifths/augmented fourths and diminished sevenths/augmented seconds -- Rhythm. Compound duple and triple meters. Division into three ; The numerator and beat structure in compound meters -- Learning to hear intervals. Compound intervals -- Melodic constructs. Incorporating compound intervals -- Learning to hear intervals. Harmonic intervals -- Dictation. Harmonic intervals -- Dictation. Guidelines for two-part rhythmic dictation. Two-part dictation ; Hearing the composite rhythm ; Completing the dictation -- Rhythm. Two-part rhythms in simple meters -- Rhythm. Two-part rhythms in compound meters -- Melody. Sight-singing -- Area II. Hearing quality, function, and inversion in triads. Learning to hear chords. Root-position triads in the major mode. Triads in root position ; Chord quality ; Triads as arpeggios ; Function -- Fundamentals. Functional harmony. Harmonic function ; Chord progressions ; Root relationships ; Chord patterns -- Learning to hear function. Root-position triads in harmonic progressions. Three-chord progressions ; Longer progressions ; Cadence ; Progressions of root-position triads -- Fundamentals. Triads in inversion. First inversion ; Second inversion ; Summary -- Learning to hear chords. Triads in inversion. Triadic possibilities ; Inversions of triads ; The identification of function ; The role of inversions -- Fundamentals. Figured bass. Analyzing and figuring bass lines -- Learning to hear function. Major-mode progressions incorporating inverted triads -- Melody. Soprano and bass lines in the major mode -- Rhythm. Dual-identity divisions. Dual metric identity ; Duple and triple divisions ; Rhythmic dictation -- Dictation. Bass lines. Analyzing harmonic possibilities -- Learning to hear chords. Triads in the minor mode. Notational convention for the minor mode ; Diatonic triads in root position ; Inversion of minor-mode triads -- Melody. Soprano and bass lines in the minor mode -- Area III. Hearing quality, function, and inversion in seventh chords. Learning to hear chords. Seventh chords in the major mode. Classifying seventh chords ; Identifying chord quality ; First inversion of seventh chords ; Other inversions of seventh chords ; Using quality and inversion to identify seventh chords -- Learning to hear function. Major-mode progressions incorporating seventh chords -- Learning to hear chords. Seventh chords in the minor mode. The diminished seventh chord -- Learning to hear function. Minor-mode progressions incorporating seventh chords -- Fundamentals. Sequences. Recognizing sequence -- Learning to hear function. Sequence in progressions incorporating seventh chords -- Melody. Sequence and implied seventh chords -- Rhythm. Asymmetric meters. Patterns of accents -- Melody. Soprano and bass lines incorporating sequence and implied seventh chords --
Contents	Area IV. Hearing secondary functions and modulations. Learning to hear function. Secondary dominant -- Learning to hear function. Progressions incorporating secondary dominants. Major mode ; Minor mode -- Secondary pre-dominants. Goal harmonies ; Minor mode -- Progressions incorporating secondary pre-dominants -- Melody. Implied secondary functions -- Transposition. Clefs and transposing instruments. Transposing without clefs -- Transposing at sight -- Rhythm. More about composite rhythm. Performance ; Dictation -- Fundamentals. Modulation. Modulation vs. tonicization ; Common-chord modulation -- Learning to hear function. Progressions that modulate -- Melody. Melodies and duets that modulate -- Area V. Hearing and performing in multiple parts. Dictation. Guidelines for four-part dictation. Soprano and bass lines ; Voice leading -- Four-part homophony. Incorporating diatonic seventh chords -- Adding nonchord tones to four-part homophony. Nonchord tones ; Suspensions -- Melody. Compositions for ensembles -- Fundamentals. Canon and imitation. Analyzing canons ; Writing canons -- Melody. Canon and imitative counterpoint -- Rhythm. Canon and hocket -- Area VI. Hearing chromaticism. Fundamentals. Chromaticism. Decorative chromaticism ; Modal borrowing -- Learning to hear function. Progressions incorporating chromaticism -- Melody. Incorporating chromaticism -- Fundamentals. Altered chords. Altered dominants ; Neapolitan sixths ; Augmented sixth chords ; Function of altered chords -- Learning to hear function. Progressions incorporating altered chords -- Melody. Implied altered chords -- Rhythm. Two against three. Combining duplets with triplets ; Other combinations -- Melody. Ensembles incorporating chromaticism -- Area VII. Hearing in nonfunctional contexts. Fundamentals. Modes and nontonal scales. Ecclesiastical modes ; The pentatonic scale ; The whole-tone scale ; The octatonic scale ; Summary -- Melody. Modes and nontonal scales -- Melodic constructs. Pitch-class sets -- Rhythm. Further subdivisions and combinations. Groupings of five ; Ratios involving five ; Groupings of seven ; Reading complex rhythms -- Melodic constructs. All-chromatic sets -- Melody. Nonfunctional contexts -- Appendix: tables and exercises in La-based minor.
Abstract	Though the teaching of aural skills is one of the most important tasks facing the college-level music educator, it is often one of the most problematic, sometimes the most feared. Some of this apprehension undoubtedly arises from the lack of effective pedagogical tools that can reliably and more completely address the needs of the discipline. This text fills this void with its unique method of comprehensive ear training. This book not only presents melodies for dictation and sight-singing, but also instructs students in how to develop the skills and strategies to hear and sight-sing unfamiliar music. In addition to presenting harmonic and rhythmic dictations, students are also shown how to listen and use their theoretical knowledge to comprehend the harmonic and rhythmic contexts in which they are listening. The book is divided into seven areas which include: Hearing the Essential Elements of Music; Hearing Quality, Function, and Inversion in Triads; Hearing Quality, Function, and Inversion in Seventh Chords; Hearing Secondary Functions and Modulations; Hearing and Performing in Multiple Parts; Hearing Chromaticism; and Hearing in Nonfunctional Contexts. Together, they incorporate unique and groundbreaking ways to train the ears of developing musicians and to encourage them to acquire a high level of aural skill. This book is intended to be used in any aural skills sequence lasting from two to seven semesters, or as a companion text in most traditional courses in music theory.
General note	Includes indexes.
LCCN	97190058
ISBN	1880157519
ISBN	9781880157510

Functional hearing : a contextual method for ear training / Arthur Gottschalk & Phillip Kloeckner.

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