For courses in Music Theory (a two-year sequence including sight singing and ear training) as well as separate Sight Singing courses.
Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the world’s folk music, Ottman provides the most engaging and comprehensive Sight Singing text on the market.
Over fifty years ago, Robert W. Ottman set out to write a book that draws examples from the literature as opposed to being composed by the author. He proposed that students should work with "real" music as they study musical forms. The result was Music for Sight Singing. Not only is real music more enjoyable and interesting to sing than dry examples, but genuine repertoire naturally introduces a host of important musical considerations beyond pitch and rhythm (including dynamics, accents, articulations, slurs, repeat signs, and tempo markings). Several generations of teachers have also agreed that Ottman's ability to order his examples from the simple to the complex is another key to the book's long term success.
"synopsis" may belong to another edition of this title.
Robert W. Ottman, deceased, an internationally renowned music theorist, was an important contributor to Music Theory education. He wrote eight textbooks and co-authored four others, all which are used to educate English-speaking students worldwide. Dr. Ottman also was a professor and chair of the Music Theory Department at the University of North Texas and a conductor of the Madrigal Singers. He earned both his BA and MM from Eastman School of Music, University of Rochester, NY, and his Ph.D. from what is now the University of North Texas in 1956. He was honored with the University of North Texas President's Citation for outstanding service to the university in April 2004.
Nancy Rogers is an Assistant Professor of Music Theory at Florida State University and the current Secretary of the Society for Music Theory; she is also a Faculty Reader and Consultant for the Advanced Placement Test in Music Theory. She received her Ph.D. from the Eastman School of Music, where she won both school-wide and university-wide teaching awards. Dr. Rogers' primary research interest is music cognition and its pedagogical implications, and she has presented papers at national, international, and regional conferences. Her recent publications may be found inMusic Theory Online, theJournal of Music Theory Pedagogy, andIndiana Theory Review.From the Back Cover:
This versatile volume presents a collection of melodies carefully selected for their capacity to develop sight singing ability. Featuring singing material from folk music and the literature of composed music, Music for Sight Singing, Fifth Edition continues to expose students to a wide range of musical styles. All melodies are graded according to both rhythmic and melodic difficulty and progress from the easiest materials to more complex.
Featuring over one thousand melodies and exercises, each chapter presents a new problem in either rhythm or melody, allowing students to study one problem at a time—but giving them experience in performing both rhythmic and melodic patterns. In addition, the following revisions have been carefully incorporated to enhance t lie overall presentation:
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Book Description Prentice Hall. SPIRAL-BOUND. Book Condition: New. 0131872346 New Condition. Bookseller Inventory # NEW4.0049126
Book Description Prentice Hall, 2006. Spiral-bound. Book Condition: New. Bookseller Inventory # P110131872346
Book Description Prentice Hall, 2006. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: (R) indicates Rhythmic Reading exercises PREFACE In Memorium ACKNOWLEDGMENTS PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT 1 RHYTHM: Simple meter; the Beat and Its Division into Two Parts RHYTHMIC READING Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes Section 3 (R). Two-part drills Section 4 (R). Note values other than the quarter note as beat values Section 5 (R). Two-part drills 2 MELODY: Stepwise Melodies, Major Keys RHYTHM: Simple Time (Meter); the Beat and its Division into Two Parts Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats Section 2. Bass clef Section 3. Other meter signatures Section 4. Duets Section 5. Structured Improvisation 3 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Simple Meters Section 1. Major keys, treble clef, intervals of the third, fourth, fifth, and octave from the tonic triad. The quarter note as the beat unit Section 2. Bass clef Section 3. Interval of the sixth; minor sixth, up to , and major sixth, up to , or descending Section 4. The half note and the eighth note as beat units Section 5. Duets Section 6. Key signatures with five, six, and seven sharps or flats Section 7. Structured Improvisation 4 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Compound Meters; the Beat and Its Division into Three Parts Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit Section 3. Sight singing: Bass clef Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills Section 5. Sight singing: The dotted half note and dotted eighth note as beat units Section 6. Duets Section 7. Structured Improvisation 5 MELODY: Minor Keys; Intervals from the Tonic Triad RHYTHM: Simple and Compound Meters Section 1. Simple meters Section 2. Compound meters Section 3. Duets Section 4. Structured Improvisation 6 MELODY: Intervals from the Dominant (V) Triad; Major and Minor Keys RHYTHM: Simple and Compound Meters Section 1. Intervals of the third from the V triad; major keys; simple meters Section 2. Intervals of the third from the V triad; minor keys; simple meters Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple meters Section 4. Interval of the sixth from the V triad; simple meters Section 5. Compound meters; various intervals from the V triad Section 6. Numerators of three, compound meters Section 7. Duets Section 8. Structured Improvisation 7 THE C CLEFS: Alto and Tenor Clefs Section 1. The alto clef Section 2. The tenor clef Section 3. Additional practice in the C clefs 8 MELODY: Further Use of Diatonic Intervals RHYTHM: Simple and Compound Meters Section 1. Single-line melodies Section 2. Duets Section 3. Structured Improvisation 9 MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh RHYTHM: Simple and Compound Meters Section 1. The complete dominant seventh chord Section 2. The interval of the minor seventh; up to or reverse Section 3. The interval of the tritone Section 4. Other uses of diatonic intervals of the seventh Section 5. Structured Improvisation PART II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT <P. Bookseller Inventory # ABE_book_new_0131872346