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This revised and expanded third edition includes new musical examples and dictations covering the entire continuum of musical development from classical to modern. It also includes definitive audio performances on CD of each of the 51 musical dictations, keyed by track number to the musical notation in the text.
Singing and Dictation for Today's Musician expands the Today's Musician family of textbooks to encompass the essential elements of musicianship and aural skills training. Featuring chapters that correspond to the organization of Theory for Today's Musician, this new textbook complements the theory text to offer a complete curriculum package, allowing students and instructors to reinforce written theory skills with relevant musicianship exercises. Combining sight singing and dictation in a single volume, this new textbook underscores the value of combining the human senses in understanding the intellectual and analytic concepts of music theory. Features of this text include: Flexibility for the instructor in using moveable or fixed "Do," scale degree numbers, and neutral syllables for singing Both singing and dictation exercises included in each unit, allowing the two skills to be fully integrated Companion website with audio recordings and instructor keys for the exercises, at www.routledge.com/cw/mccarthy Units match the pacing and order of topics in Theory for Today’s Musician, allowing the texts to be easily used in sync. Beginning with fundamentals and continuing up through twentieth-century materials, Singing and Dictation for Today’s Musician allows instructors to closely align their teaching of musicianship and aural skills with the written theory curriculum, enhancing student understanding of core music principles.
This book serves as an ideal starting point for newcomers and an excellent reference source for people already working in the field. Researchers and graduate students in signal processing, computer science, acoustics and music will primarily benefit from this text. It could be used as a textbook for advanced courses in music signal processing. Since it only requires a basic knowledge of signal processing, it is accessible to undergraduate students.
My doctoral thesis has involved two related tasks. The first was to analyse Zoltán Kodály’s philosophy of music education and, on this basis, to develop a computer-assisted instruction method (CAI) for teaching music theory and solfège (ear-training). The second task was to experiment with the effectiveness of this method and compare it with traditional approaches to teaching. Many student find music theory and ear training difficult. During the 1990s, in connection with my licentiate thesis “Solfège in the Computer Classroom” (2000), I initiated this research project, and developed a CAI method for teaching music theory and solfège. I wanted to see just how useful Kodály’s approach could be in computer-aided teaching and learning. The results show that the Kodály approach can be successfully applied to the development of a computer-aided solfège programme and the Kodály system is applicable to new learning environments and teaching practices. In music education CAI is an area with great potential for development. It offers multiple learning options and can enhance students’ motivation to study music theory and ear-training; some of the learning outcomes were even better than with the traditional ways of learning. The results also show, however, that the teacher-pupil interaction is essential in a computer-aided learning programme.