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Item added to your basket View basket. Proceed to Basket. Rather, rhythm and pitch are evaluated simultaneously when the melodic dictation exercise is scored. Figure 4 shows an example of a melodic dictation exercise containing a rhythmic error and a couple of pitch errors. By not separating rhythm from melody, this program more accurately represents how we perceive music, but more importantly requires an integration of concepts not required in the other programs.

Figure 5 shows an example of a student answer, the correct answer, the incorrect elements, and the overall score of a harmonic dictation exercise. The screen includes a feedback box on the left-hand side of the screen that indicates the error s , buttons on the right-hand side that allow students to hear their example and the original to make comparisons, and a tracking bar on the bottom of the screen tracks the number of correct answers out of the last As the student moves to the next exercise, the red X in the tracking bar box on the right-hand side of the screen will move one place to the left.

When 8 of 10 boxes turn green, representing correct answers, the level has been mastered. The instructor can determine the number of examples needed for mastery, the percentage of the example elements that must be correct to be counted as a pass, and a variety of other parameters through programs available on the instructor disk. Instructors can create additional melodies, harmonic progressions, scale patterns, interval exercises, and so forth. The process is extremely flexible, intuitive, and very functional. The advantage of such exercises can be found in developing timing, arguably the most important factor in musicality, rather than rhythmic identification and understanding.

Such a series of exercises would be a welcome addition to future versions of this fine program. Norton in New York www. Norton, New York and also to serve as a stand-alone program. The philosophy behind CASPAR differs dramatically from the previous two programs in that the computer does not score any of the exercises. Rather, the computer provides single line melodies and harmonic exercises in the form of SATB chorales, and the student writes the dictation on manuscript paper. The program is organized into four sections of melodic and four sections of harmonic exercises with each unit consisting of eight or nine lessons.

All melodies have the key signature and starting pitch given. Beginning in the lower left-hand side of the screen, the metronome can be adjusted by the student with or without a count off measure. The harmonize button will play a tonicization pattern in the key at any time.

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The student can select specific measures for playback, the playback controls are self-explanatory, and the tempo can be adjusted. CASPAR provides on-board help featuring partial or substantial guidance with the task at hand through the view tabs at the top of the screen. The tonic tab will indicate every location of tonic in the melody, while the and tabs indicate the locations of the scale degrees of the tonic and dominant harmonies, respectively.

The rhythm tab will show the rhythm of any or all of the measures. The contour tab highlights shapes, and the implied harmony tab reveals possible harmonizations of the scale degrees present. The hints tab reveals one or more hints depending on the complexity of the melody and finally the entire answer can be revealed with the answer tab. The controls at the bottom of the screen are consistent in all of the exercises, and the top of the page allows the student to listen to any or all voices in any combination by turning them on or off with the speaker icons. Since this exercise modulates, there are two rows for the analytical symbols and function identification.

Figure 8 shows the answer s to this particular exercise. It tracks the complete time on task, the number of hearings full and partial , and the amount of help requested based on each help item. The progress reports can be sent to instructors along with the completed exercises. This type of program can be useful in the right circumstances with dedicated students willing to put forth the effort to honestly engage the learning process that such a program facilitates. It also moves the grading from the computer to the instructor, so the exercises can be scored using the teacher's own rubrics.

Elementary Training for Musicians

First, it does not provide any exercises to serve as quizzes where the material is not presented to the student. Second, it does not lighten the burden of grading exercises. Finally, the limited number of examples could be a problem for students who need additional work. While that may be an appropriate number for some students, others may need many more exercises based on strength of their musical background.

Another new addition to the body of ear training programs is Music for Ear Training, designed by Tim Koozin at the University of Houston and published by Wadsworth www. The program coordinates with Benjamin, Horvitt, and Nelson's Music for Sight Singing, 3rd Edition Wadsworth and serves as a stand-alone workbook with software.

The computer provides melodic, harmonic, rhythmic, and transcription exercises. Figure 10 shows the first page of the main menu indicating the first six of seventeen units. Many units are divided into harmonic, melodic, and rhythmic dictation exercises, while Units 10, 14, and 17 are dedicated to transcriptions from music literature.

Figure 11 shows the melodic dictation screen. Students can adjust the tempo in the lower left-hand portion of the screen with playback controls at the bottom center. They can hear the tonic pitch and a tonic scale. On the bottom right-hand portion the student can select one of the six timbres for listening. The students write the dictation in the workbook and turn it in to the instructor for grading. While grading the exercises is still time consuming, the instructor does not need to copy the dictation exercises from the computer before she can begin the grading process.

Each melodic unit includes a series of preliminary exercises and a series of melodies. For example, the first unit contains 18 sets of preliminary exercises with about 14 exercises per set, 14 sets of melody exercises with about 14 melodies per set, and 3 sets of quizzes with 5 melodies per set.

The Annotated Instructor's Manual shows the first set of melodies; however, the computer has an additional 19 sets for practice!

Paul Hindemith - Elementary Training for Musicians [2nd Ed].pdf

In total, the program has over graded examples. The three sets of quizzes at each level, for which the computer does not give the student the answer, are printed in the Annotated Instructor's Manual. The rhythmic dictation exercises in Unit 2 provide 14 sets of material and three sets of quizzes. Figure 12 shows a phrase-length harmonic dictation example from Unit 5. The program features "basic progressions" and phrase-length exercises at each level.


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The basic progressions at this level are four or five chords and serve as building blocks for the phrase-length examples. At the earliest levels the basic progressions contain only two chords and as the phrase length progressions become more complicated, gradually additional chords are added to the preliminary exercises. Students can change the timbre for the example and play any combination of voices by selecting the corresponding boxes.

Units 10, 14, and 17 contain excerpts from music literature see Figure The examples include over 50 excerpts by composers such as J.

The Complete Elementary Music Rudiments, 2nd Edition TSCR

The excerpts come from a variety of genres, including solo piano works, quartets, quintets, chorales, and others. The transcription exercises take students one step beyond traditional four-voice chorale-style dictation and require them to address issues of texture, registral space, and larger-scale listening and begin to make connections from the critical listening skills to larger-scale musical contexts that appear to be missing for many of our students.


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Music for Ear Training does not track student progress in the manner of the other programs. Rather, the students' work is the documentation of their progress. The combination of writing the music down with the immediacy of computer feedback provides a powerful model for dictation. Your points will be added to your account once your order is shipped.

Click on the cover image above to read some pages of this book! Originally published in the s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.

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