From Sound to Symbol: Fundamentals of Music / Edition 1

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Overview


Designed for a one-semester musical fundamentals course, From Sound to Symbol: Fundamentals of Music clearly covers all essential topics, but with a unique, "sound-to-symbol" approach that explores concepts through the sound of music before explaining how symbols are used to represent that sound. Reversing the pedagogical perspective of traditional music theory texts, the authors work from the premise that students should first intuitively comprehend musical sounds, and then link this knowledge to an understanding of musical symbols and theory. Recent research in music perception and cognition suggests that using this "perceptual orientation" is an effective means of teaching both musical thought and knowledge.
The text's most innovative feature is an early and continuous focus on active music-making, which is supported by workbook exercises. Using discovery learning and collaborative learning techniques, it teaches students how to develop their perception of sound through kinesthetic, aural, and visual methods. The authors incorporate numerous examples and activities for developing musicianship skills at progressive levels of difficulty; marginal icons direct students to exercises in music theory, sight reading melodies and rhythms, improvisation and composition, ensemble singing, and keyboard performance. By employing a repertoire that is simple and easy to sing or play, From Sound to Symbol gives students the opportunity to actively engage in the learning process and to easily internalize the concepts and elements inherent in the music. A fold-out, laminated keyboard is packaged with each text.

SUPPLEMENTS:
Audio CD
Each text is packaged with an audio CD that includes all the focus melodies in the text, recorded in both vocal and instrumental versions.
Technology CD
Each text also comes with a CD-ROM that provides tutorials for chapter review, theory exercise drills, and dictation exercises.
Instructor's Manual
Available to adopters, this manual includes lesson plans, teaching tips on learning assessment, tutorials that interface with the CD-ROM, additional aural and written dictation examples for each chapter, and suggestions for scoring tests.

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Product Details

  • ISBN-13: 9780195327700
  • Publisher: Oxford University Press
  • Publication date: 6/2/2008
  • Edition description: Older Edition
  • Edition number: 1
  • Pages: 512
  • Product dimensions: 8.30 (w) x 10.80 (h) x 0.90 (d)

Meet the Author

Mícheál Houlahan is Professor of Music Theory and Chair of the Department of Music at Millersville University of Pennsylvania.

Philip Tacka is Professor of Music at Millersville University of Pennsylvania.

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Table of Contents

PREFACE
INTRODUCTION
Six Basic Elements of Music
The Multiple Dimensions of Musicianship
CHAPTER 1. BASIC RHYTHMS IN SIMPLE METER
1.1: Phrase, Beat, and Tempo
1.2: Introduction to Meter
1.3: Basic Rhythm Patterns in Simple Meter
1.4: Basic Rhythm Patterns that Include Rests in Simple Meter
1.5: Repeat Signs
CHAPTER 2. THE KEYBOARD AND NOTATION OF PITCH
2.1: The Keyboard and Basic Concepts Associated with Pitch
2.2: Whole-Step and Half-Step Intervals at the Keyboard
2.3: Treble Clef and Introduction to the Notation of Pitch
2.4: The Bass Clef, Ledger Lines, and Octave Sign
2.5: Notating Sharps and Flats on the Staff
CHAPTER 3. MORE ADVANCED RHYTHMS IN SIMPLE METER
3.1: Sixteenth Notes
3.2: Notating Melodies in Different Meter
3.3: Eighth and Sixteenth Note Combinations
3.4: Dotted Eighth Note Followed by a Sixteenth Note
3.5: Dotted Notes: A Dotted Quarter Note Followed by an Eighth Note
3.6: Syncopation
CHAPTER 4. ORIENTATION TO MELODIC STRUCTURES
4.1: Major Pentachord Scale and Melodies
4.2: Determining the Intervals between Notes of the Pentachord Scale
4.3: Writing a Major Pentachord Scale and Melodies Using Accidentals
4.4: Major Hexachord Scales and Melodies
4.5: Determining the Size and Quality of Intervals Between Notes of the Major Hexachord Scale
4.6: Writing a Major Hexachord Scale and Melodies Using Accidentals
4.7: Major Pentatonic Scales and Melodies
4.8: Writing a Major Pentatonic Scale and Melodies Using Accidentals
CHAPTER 5. THE MAJOR SCALE
5.1: Major Diatonic Scale and Melodies
5.2: Determining the Intervals Between Notes of the Major Scale
5.3: Writing a Major Scale and Melodies Using Accidentals
5.4: Key Signatures
5.5: Writing Major Scales and Melodies Using a Key Signature
5.6: Transposition
5.7: Identifying the Key of a Major Scale or Composition from a Given Key Signature
CHAPTER 6: INTERVALS
6.1: Interval Identification
6.2: Determining Interval Quality: Major, Minor, and Perfect
6.3: Determining Minor, Augmented, and Diminished Interval Relationships
6.4: Determining Harmonic Inversion of Intervals
6.5: Determining Compound Intervals
CHAPTER 7. COMPOUND METER AND ADVANCED RHYTHMIC CONCEPTS
7.1: Rhythms Patterns in Compound Meter
7.2: Subdivision of Rhythm Patterns in Compound Meter
7.3: More Complex Rhythm Patterns in Compound Meter
7.4: Dotted Rhythm Patterns in Compound Meter
7.5: Triplets and Duplets
7.6: Changing Meter and Asymmetric Meter
CHAPTER 8. ORIENTATION TO THE MINOR SCALE
Part A: La Minor
8.1A: Minor Pentachord Scale and Melodies
8.2A: Determining the Size and Quality of Intervals Between Notes of the Minor Pentachord Scale
8.3A: Writing Minor Pentachord Scales and Melodies Using Accidentals
8.4A: Minor Hexachord Scale and Melodies
8.5A: Determining the Intervals Between Notes of the Minor Hexachord Scale
8.6A: Writing Minor Hexachord Scales and Melodies Using Accidentals
8.7A: Minor Pentatonic Scale and Melodies
8.8A: Determining the Intervals Between the Notes of the Pentatonic Scale
8.9A: Writing Minor Pentatonic Scale and Melodies Using Accidentals
Part B: Do Minor
8.1B: Minor Pentachord Scales and Melodies
8.2B: Determining the Size and Quality of Intervals Between Notes of the Minor Pentachord Scale
8.3B: Writing Minor Pentachord Scales and Melodies Using Accidentals
8.4B: Minor Hexachord Scales and Melodies
8.5B: Determining the Intervals Between Notes of the Minor Hexachord Scale
8.6B: Writing a Minor Hexachord Scale and Melodies Using Accidentals
8.7B: Minor Pentatonic Scale and Melodies
8.8B: Determining the Intervals Between the Notes of the Pentatonic Scale
8.9B: Writing a Minor Pentatonic Scale and Melodies Using Accidentals
CHAPTER 9. THE MINOR SCALE: NATURAL MINOR, HARMONIC MINOR, MELODIC MINOR
Part A: La Minor
9.1A: Natural Minor Scale and Melodies
9.2A: Determining the Intervals Between Notes of the Natural Minor Scale
9.3A: Writing a Natural Minor Scale Using Accidentals
9.4A: Minor Key Signatures
9.5A: Writing Natural Minor Scales and Melodies with a Key Signature
9.6A: Relative and Parallel Key Relationships
9.7A: Harmonic Minor Scale and Melodies
9.8A: Determining the Intervals Between the Notes of the Harmonic Minor Scale
9.9A: Writing Harmonic Minor Scales and Melodies on the Staff
9.10A: Melodic Minor Scale and Melodies
9.11A: Determining the Intervals Between the Notes of the Melodic Minor Scale
9.12A: Writing Melodic Minor Scales and Melodies Using Accidentals
9.13A: Identifying the Key of a Composition
Part B: Do Minor
9.1B: Natural Minor Scale and Melodies
9.2B: Determining the Intervals Between Notes of the Natural Minor Scale
9.3B: Writing Natural Minor Scales Using Accidentals
9.4B: Minor Key Signatures
9.5B: Writing a Natural Minor Scale and Melodies With a Key Signature
9.6B: Relative and Parallel Key Relationships
9.7B: Harmonic Minor Scale and Melodies
9.8B: Determining the Intervals Between the Notes of the Harmonic Minor Scale
9.9B: Writing Harmonic Minor Scales and Melodies on the Staff
9.10B: Melodic Minor Scale and Melodies
9.11B: Determining the Intervals Between the Notes of the Melodic Minor Scale
9.12B: Writing Melodic Minor Scales and Melodies Using Accidentals
9.13B: Identifying the Key of a Composition
CHAPTER 10. CONSTRUCTING AND LABELING TRIADS
10.1: Major, Minor, Diminished, and Augmented Triads
10.2: Identifying Triads Using Pitch Names and Popular Music Symbols
10.3: Close and Open Positions of a Triad
10.4: Labeling Triads Using Roman Numeral Analysis and Figured Bass
10.5: Inversions of Triads
10.6: The Dominant Seventh Chord
CHAPTER 11. AN INTRODUCTION TO BASIC CHORD PROGRESSIONS
11.1: Tonic and Dominant Functions in a Major Key
11.2: Tonic and Dominant Chord Progressions
11.3: Tonic and Dominant Functions in Minor
11.4: Tonic and Dominant Chord Progressions in Minor
11.5: Tonic, Subdominant, and Dominant Functions in Major
11.6: Primary Triads: Tonic, Subdominant, and Dominant Chords in Root Position in a Major Key
11.7: Tonic, Subdominant, and Dominant Functions in Minor
11.8: Primary Triads: Tonic, Subdominant, and Dominant Chords in Root Position in a Minor Key
11.9: Cadences
11.10: An Introduction to Nonharmonic Tones or Nonchord Tones
11.11: Chord Progressions Involving Secondary Triads
11.12: Chord Progressions Involving the Tonic Six-Four Chord as a Cadential Chord
11.13: Twelve-Bar Blues Progression
CHAPTER 12. COMPOSING A SONG
12.1: Choosing the Lyrics
12.2: Creating the Rhythmic Notation for Your Lyrics
12.3: Composing a Melody
12.4: Unifying Your Composition
12.5: Harmonizing Your Composition
12.6: Determining an Appropriate Piano Accompaniment for Your Composition
APPENDIXES
1: Glossary of Musical Terms
2: Focus Melodies for Chapters 1-9
3: Graphic Representations of Focus Melodies for Chapters 1-9
4: Rhythm Syllables for Reading Simple and Compound Meters
5: Focus Melodies in Simple to Complex Order for Practicing Rhythm Syllables
6: Solfège syllables for Reading Scale Patterns
7: Focus Melodies in Simple to Complex Order for Practicing Solfège Syllables
8: Major Scales for Keyboard Practice
9: Minor Scales for Keyboard Practice
10: Major Scales and Their Relative Minors.
11: Modes
12: Other Scales: Whole Tone, Chromatic Blues Scale, and Blues Scale
13: Triads and Chords

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