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Originally published in the 1940s, Paul Hindemith's remarkable 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.
(Instructional). A continuation of Basic Rhythmic Training , this collection of progressive rhythmic drills is designed to increase a music student's proficiency in executing and understanding Rhythm. The exercises begin very simply and proceed to more complex meters, beat divisions and polyrhythms. The book can be used as a supplement to any method, or as a drill book for the musician who wishes to solidify and expand his/her rhythmic abilities.
Welcome to a veritable feast for readers’ eyes, minds, and, by extension, ears. Filled with profiles of truly accomplished musicians across a broad spectrum of musical styles and genres, this volume includes such varied musical artists as Ludwig von Beethoven, Elvis Presley, and hip-hop artist Jay-Z.
The Book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it... From the center of basic theory our discussion will spread out into all the realms of experience which border the technical aspect on composing, such as aesthetics, sociology, philosphy and so on... We must be grateful that with our art we have been placed halfway between science and religion, enjoying equally the advantages of exactitude in thinking... and of the unlimeted world of faith. Paul Hindemith, from the preface
A self-training manual as well as a classroom text, this book is a complete step-by-step course to develop the musician's ability to hear and notate any style of music. Personal training, thoery and exercises produce techniques which are combined in an integrated craft which may be applied to composition, orchestration, arranging, improvisation and performance. A kind of finishing school for those who wish to pursue a career in composing, orchestrating, arranging or performing. -- The Score, Society of Composers and Lyricists A myriad of practical information. Comprehensive ear training, important because aural skills are among the most overlooked in music education. -- Survey of New Teaching Materials, Jazz Educators journal A synthesis of the author's vast knowledge and his quest to define the question, "How do we hear?" -- ITG Journal A wonderfully systematic approach to ear training . . . neatly designed and structured, it just flows. Direct and easily understood. -- New books, Jazz Educators Journal Bernard Brandt says: "Hearing and Writing Music", by Ron Gorow, is a superb book. It makes a simple and elegant presentation of the internal process by which we hear sounds and music, how we recognize intervals, chords, melody, harmony, counterpoint, and the timbre of instrumentation/ orchestration, how we can develop the skills of listening, auditory memory and imagination, and how to use these skills to hear and to write down music of any sort. The hallmark of an expert is the ability to explain the basics of his field as simply as possible. By that standard, Mr. Gorow has proven his expertise in this book. I note that the other reviews, both for Amazon and in musical journals, tend to limit the importance of "Hearing and Writing Music" to ear training. I believe that Mr. Gorow's book is valuable for much more than ear training. I have studied it, and as a result of that study, I believe that my auditory memory and imagination and my abilities in score reading have improved enormously. Further, I have been able to use the skills in this book to transcribe melodies, harmonies and counterpoint almost effortlessly, both those that I have heard, and those which existed only in my imagination. This book has opened many doors for me. I believe that it can do so for many others.
Fully revised and updated, this text adds coverage of mashups and auto-tune, explores recent developments in file sharing, and includes an expanded conclusion and bibliography.
A brilliant analysis of the music of the twenties and thirties, also discusses the music of composers like Stravinsky, Satie, Gershwin, and considers the contributions of jazz and other pop music of the time with classical music.
For students & professionals who want to gain the ability to sight-sing and play rhythms from the simplest to the most complex syncopations. For the first time in print, syncopations are explained, illustrated and classified.