![]() The third edition of Developing Musicianship through Aural Skills provides a strong foundation for undergraduate music students and answers the need for combining skills in a more holistic, integrated music theory core. Over 1,600 musical examples represent a wide range of musical styles and genres, including classical, jazz, musical theatre, popular, and folk music. Under the umbrella of musicianship, this textbook guides students to "hear what they see, and see what they hear," with a trained, discerning ear on both a musical and an aesthetic level.Key features of this new edition include:Revised selection of musical examples, with added new examples including more excerpts from the literature, more part music, and examples at a wider range of levels, from easy to challengingNew instructional material on dictation, phrase structure, hearing cadences, and reading lead sheets and Nashville number chartsAn updated website that now includes a comprehensive Teachers Guide with sample lesson plans, supplemental assignments, and test banks instructional videos and enhanced dictation exercises.The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students the skills necessary to incorporate professionalism, creativity, confidence, and performance preparation in their music education. Developing Musicianship through Aural Skills, Third Edition, is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as part of an integrated curriculum, incorporating both sight singing and ear training in one volume. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. ![]() ![]() The program is a combination of creative workshops on music literature, history of music and musical instruments, exploring centuries of music development.Paperback. We would strongly recommend our students to incorporate elements of aural training, such as singing scales, random notes and intervals, chords, sight-singing, in a daily practicing routine. The ability to internalise music and to reproduce it or interpret written music with a minimum of preparation can, of course, be developed. In other words, a student should be trained to be able to read, listen to and understand music just as he reads, listens to and understands his mother tongue. We also teach counterpoint, harmony and jazz harmony.Īs Kodaly said, “a good musician should hear what he sees, and he should visualise what he hears”. We teach all grades of music theory syllabuses with ABRSM and Rockschool examination boards. The instrumental music education is incomplete without spending time and effort on practicing aural training, improving one’s knowledge of music theory, harmony and form structure.
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