This book is about thinking in music. Music listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of the latest research in music perception and cognition, music theory, along with centuries of insight from music theorists, composers, and performers. Aural skills are the focus; the author also works with common problems in both skills teaching and skills acquisition.

A research-based aural skills curriculum that reflects the way students learn.

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.

Audio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process. The interactive web browser-based "ear training" software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really "hear" your recordings. This all-new edition has been updated to include: Audio and psychoacoustic theories to inform and expand your critical listening practice. Access to integrated software that promotes listening skills development through audio examples found in actual recording and production work, listening exercises, and tests. Cutting-edge interactive practice modules created to increase your experience. More examples of sound recordings analysis. New outline for progressing through the EQ ear training software module with listening exercises and tips.

Aural Skills in Context by Matthew Shaftel, Evan Jones, and Juan Chattah is the first complete text covering sight singing, ear training, and rhythm practice that features real musical examples (from classical to folk and jazz) as the composer wrote them.

The Routledge Companion to Aural Skills Pedagogy offers a comprehensive survey of issues, practice, and current developments in the teaching of aural skills. The volume regards aural training as a lifelong skill that is engaged with before, during, and after university or conservatoire studies in music, central to the holistic training of the contemporary musician. With an international array of contributors, the volume captures diverse perspectives on aural-skills pedagogy, and enables conversation between different regions. It addresses key new developments such as the use of technology for aural training and the use of popular music. This book will be an essential resource and reference for all university and conservatoire instructors in aural skills, as well as students preparing for teaching careers in music.

Songs in Their Heads is a vivid and engaging book that bridges the disciplines of music education, ethnomusicology, and folklore. This revised and expanded edition includes additional case studies, updated illustrative material, and a new section exploring the relationship between children's musical practices and current technological advances. Designed as a text or supplemental text for a variety of music education methods courses, as well as a reference for music specialists and classroom teachers, this book can also help parents understand and enhance their own children's music making.

The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now"), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises.

Inspired by Dalcroze-eurhythmics, this book is a practical guide for teachers and students interested in integrating the moving body into the aural skills classroom. Author Diane J. Urista focuses on movement-to-music as a tool for developing musical perception and the kinesthetic aspects of performance. As this book demonstrates, moving to music and watching others move cultivates an active, multi-sensory learning experience in which students learn by discovery and from each other. The book features a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts, including improvisation and expressive exercises. These exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration, develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded but flexible order allowing readers to select individual exercises in any sequence. Activities involve movement through space as well as movement in place for those teaching in small classrooms. The book can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with fixed do, moveable do, and scale degrees. A companion website features undergraduate students performing select exercises. Visit the companion website at www.oup.com/us/movingbodyauralskillsclassroom

Never before available in English, this classic work is a major contribution to the art and technique of violin playing and an important document in the history of performance practice. A contemporary of Kreutzer and Rode, Pierre Marie Francois de Sales Baillot provides in his treatise many insights into the style of nineteenth-century fingering, bowing, ornamentation, and expressiveness that are not apparent from the directions and markings found in scores of that time. Such information will be invaluable for performers interested in understanding the intentions of composers such as Viotti, Haydn, Mozart, Beethoven, and Mendelssohn. This complete, unabridged translation, which includes an extensive introduction by the translator, Louise Goldberg, and a foreword by Zvi Zeitlin, will be indispensable for musicologists, performers, and lovers of eighteenth- and nineteenth-century classical music.