Music for Sight Singing / Edition 6

by Thomas E. Benjamin, Michael Horvit, Robert S. Nelson

Overview

Designed for the "musicianship" portion of the freshman-sophomore music theory sequence, Benjamin/Horvit/Koozin/Nelson's MUSIC FOR SIGHT SINGING, Seventh Edition, presents music that is challenging without overwhelming young musicians. With over 1,400 melodies, rhythms and vocal ensemble pieces, it combines a carefully graded sequence of newly composed musical examples with selections from music literature. It includes early music, Classical and Romantic music, works by contemporary composers and female composers, representations of international cultures, popular music, Broadway, jazz and more. Drawing on their extensive experience as composers and music theorists, the authors deliver a comprehensive approach for sight singing to complement the full aural skills and music theory curriculum. Broad breadth of coverage and thoughtful organization provide for well-rounded skill development.

Product Details

ISBN-13:	9781133307976
Publisher:	Cengage Learning
Publication date:	04/10/2012
Edition description:	Older Edition
Pages:	384
Product dimensions:	8.50(w) x 10.80(h) x 0.60(d)

About the Author

Thomas E. Benjamin recently retired as chair of the Department of Music Theory at the Peabody Conservatory of The Johns Hopkins University. A composer, conductor, performer and music theorist with more than 40 compositions published and recorded, he also holds fellowships and awards from the MacDowell Colony, Yaddo and the National Endowment for the Arts.


Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. 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. In addition to CDs with the Albany label, he has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern and Transcontinental. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.


Robert S. Nelson teaches music theory and composition at the Moores School of Music, University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he has also received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra.

Table of Contents

Part I: COMMON PRACTICE TECHNIQUES: DIATONIC. 1. Rhythm: One-and-Two-Pulse Units (Unmetered). Pitch: The Major Scale. 2. Rhythm: Simple Meters. Pitch: Introducing Thirds. Pitch: Introducing Fourths. 3. Pitch: Tonic Triad in the Major Mode. Introducing Fifths, Sixths, and Octaves. 4. Rhythm: 2:1 Subdivisions of the Beat. Pitch: I, V, and V7; Introducing Sevenths. 5. Rhythm: Anacruses (Upbeats) and 4:1 Subdivisions of the Beat. Pitch: I, IV, V, and V7. Pitch: Introducing the Alto Clef. 6. Rhythm: Dots and Ties. Pitch: Minor Mode. 7. Music from the Literature. 8. Rhythm: Compound Meter. Pitch: Supertonic Traid. Pitch: Submediant and Mediant Triads. Pitch: Tenor Clef. 9. Rhythm: Triplets and Duplets. 10. Music from the Literature. 11. Rhythm: Syncopation. Pitch: Other Seventh Chords. Part II: COMMON PRACTICE TECHNIQUES: CHROMATIC. 12. Pitch: Decorative Chromaticism. Pitch: Inflected Scale Degrees. Pitch: Scalar Variants in Minor. Pitch: Modal Borrowing. 13. Music from the Literature. 14. Pitch: Secondary Dominants. 15. Pitch: Modulations to Closely Related Keys. 16. Rhythm: Quintuple Meters. Pitch: Chromaticism Implying Altered Chords; Modulation to Distantly Related Keys. 17. Music from the Literature. Part III: TWENTIETH-CENTURY TECHNIQUES. 18. Rhythm: Irregular Meters. Pitch: Diatonic Modes. Pitch: Changing Clefs. Part Music. 19. Rhythm: Changing Meters. Pitch: Pandiatonicism. 20. Rhythm: Syncopation Including Irregular and Mixed Meters. Pitch: Extended and Altered Tertian Harmony. 21. Pitch: Exotic Scales. 22. Rhythm: Complex Divisions of the Beat. Pitch: Quartal Harmony. 23. Rhythm: Polyrhythms and Polymeters. Pitch: Polyharmony and Polytonality. 24. Pitch: Interval Music. 25. Serial Music. 26. Music from the Literature.

Editorial Reviews

I like the fact that the bulk of the material is specifically composed-- and well written at that. The material is varied and musical, making it very easy to comment on and insist on musicality in performance. Well done.

Another strength is the obvious attention to the whole organization of the text. Rhythm and melody concepts (with attention to 'melodized harmony') are very well thought out. The sequence of ideas and exercises is excellent.

From the Publisher