![]() He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progress in these aspects of music. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. It will prove an invaluable guide for music teachers, music theorists, and psychologists interested in music perception and cognition.Īural Awareness: Principles and Practice by George Pratt Michael Henson Simon Cargill Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. 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. ![]() Aural Skills Acquisition builds important bridges between music theory, cognitive psychology, and pedagogy. Throughout the book the author presents these skills in their musical contexts and emphasizes their roles in the general development of musicality. It looks at such physical skills as vocal production and eye movements and at such complex integrated tasks as sight-singing transpositions and modulations. The second part then examines the skills involved in reading and performing music. 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. 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. ![]() Karpinski This book is a hands-on investigation of the stages musicians go through as they learn to hear, read, and perform music. Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians by Gary S.
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