Talking about your ideas and voicing your questions will increase your understanding of the material. Participate in class discussions as much as possible.
(Music with lyrics may be too distracting.) Listen to lyric-free music while you study. Find a spot in the front row so that you can hear every word of the lecture. Later, you can listen back to the recording and take notes on the most important information. You'll process the information much better this way than if you try to jot down every word the teacher says. During class, focus your brain power on listening closely to the lecture. Ask your instructor's permission to create audio recordings of class lectures. Verbally reinforcing the information will help you retain it, especially if you have to memorize lots of details.
Team up with a study group or a reliable study partner and quiz each other on the content. Quickly improve listening and ear training with the standard text in ear training instruction. More short examples/exercises and new and expanded quizzes of varying length and difficulty to check comprehension. Repertoire includes basic rudiments (intervals, chords, scales), melodies, four-part harmonic settings, and varied textures from musical literature.Īnnotated Instructor's Edition offers the complete student workbook with answers to exercises and questions.Ĭombines easily with sight-singing curriculum: This new edition coordinates more closely with Benjamin/Horvit/Nelson MUSIC FOR SIGHT SINGING, Sixth Edition. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he also has received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra. Robert Nelson teaches music theory and composition at the Moores School of Music at the University of Houston. He is former editor of MUSIC THEORY ONLINE, the electronic journal of the Society for Music Theory. He has published widely in scholarly journals and in collected essays published by Cambridge University Press, Ashgate and Routledge on topics including music and meaning, popular music, film music and music instructional technology. Timothy Koozin is professor and division chair of Music Theory at the Moores School of Music at the University of Houston. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.
Peters, MorningStar, Recital Publications, Shawnee Press, E.C. In addition to CDs with the Albany label, he has published with C.F. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan and Israel. Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. Music Dictation: Polyharmony and Polytonality. Pitch: Extended and Altered Tertian Harmony.Ģ2. Rhythm: Syncopation Including Irregular and Mixed Meters. Rhythm: Changing Meters.Pitch: Pandiatonicism.Ģ0. Rhythm: Irregular Meters.Pitch: Diatonic Modes. Melodic Dictation: Modulation to Closely Related Keys.ġ8. Melodic Dictation: Secondary Dominants.ġ5. Melodic Dictation: Scalar Variants, Modal Borrowing, and Decorative Chromaticism.ġ3. Melodic Dictation: The Supertonic Triad.ġ2. Rhythmic Dictation: Beat Subdivision by 4: Anacrusis.ħ. Rhythmic Dictation: Beat Subdivision by 2.ĥ. Melodic Dictation: Fifths, Sixths, and Octaves.Ĥ.