Music for Sight Singing / Edition 10

by Nancy Rogers, Robert Ottman

Overview

For courses in sight singing and music theory. The most celebrated, engaging, and musical sight-singing text on the market A freshly updated edition of the classic musical textbook, Music for Sight Singing, 10th Edition, is structured around organized melodies, drawn from the literature of composed music and a wide range of the world’s folk music. Real music exercises allow readers to practice sight singing and develop their “mind’s ear,” the ability to imagine how music sounds without first playing it on an instrument. The new edition includes even more melodies and several new topics; improved introductions to minor keys, pre-dominant leaps, and chromaticism; and increased use of bass and C clefs — while retaining the simple-to-complex arrangement that lays the foundation for success.

Product Details

ISBN-13:	9780134475455
Publisher:	Pearson Education
Publication date:	12/09/2018
Series:	What's New in Music Series
Edition description:	New Edition
Pages:	464
Sales rank:	255,758
Product dimensions:	5.90(w) x 8.90(h) x 0.70(d)

About the Author

About our authors

Nancy Rogers is an Associate Professor of Music Theory at Florida State University. With research interests including music cognition and its pedagogical implications, Dr. Rogers has presented papers at national and international conferences, including meetings of the Society for Music Theory, the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Conference on Interdisciplinary Musicology. She was a keynote speaker at the 2009 Musical Ear conference held at Indiana University. Several of her recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy and Em Pauta.

Professor Rogers received her PhD in music theory from the Eastman School of Music; she is also a Mellon Fellow in the Humanities. She has served as President of Music Theory Southeast, Secretary of the Society for Music Theory and Treasurer of Music Theory Midwest. Before coming to Florida State University, she served on the faculties of Northwestern University, the University of Iowa and Lawrence University.

Table of Contents

Brief Contents

PART I

MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT

1. RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
2. MELODY: Stepwise Melodies, Major Keys
   RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
3. MELODY: Leaps within the Tonic Triad, Major Keys
   RHYTHM: Simple Meters
4. MELODY: Leaps within the Tonic Triad, Major Keys
   RHYTHM: Compound Meters; The Beat and Its Division into Three Parts
5. MELODY: Minor Keys; Leaps within the Tonic Triad
   RHYTHM: Simple and Compound Meters
6. MELODY: Leaps within the Dominant Triad (V); Major and Minor Keys
   RHYTHM: Simple and Compound Meters
7. THE C CLEFS: Alto and Tenor Clefs
8. MELODY: Further Use of Diatonic Leaps
   RHYTHM: Simple and Compound Meters
9. MELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps
   RHYTHM: Simple and Compound Meters

PART II

MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT

1. RHYTHM: The Subdivision of the Beat: The Simple Beat into Four Parts, The Compound Beat into Six Parts
2. MELODY: Leaps within the Tonic and Dominant Triads
   RHYTHM: Subdivision in Simple and Compound Meters
3. MELODY: Further Use of Diatonic Leaps
   RHYTHM: Subdivision in Simple and Compound Meters

PART III

MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES

1. RHYTHM and MELODY: Syncopation
2. RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values
3. MELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major
4. MELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key
5. RHYTHM and MELODY: Changing Meter Signatures; The Hemiola; Less Common Meter Signatures
6. RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi
7. MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation

PART IV

THE DIATONIC MODES AND RECENT MUSIC

1. MELODY: The Diatonic Modes
2. RHYTHM and MELODY: The Twentieth and Twenty-First Centuries

APPENDIX A: RHYTHM SOLMIZATION

APPENDIX B: PITCH SOLMIZATION

APPENDIX C: MUSICAL TERMS

Editorial Reviews

The carefully graded nature of the examples makes it appropriate for all four semesters of our course sequence and. [The text] meets our need well and has stood the test of time.”

- Robert Mills, Liberty University

“The most significant challenge facing the students is developing the skills and abilities quickly enough to maintain pace with the curriculum. I believe it is more of a time issue (lack of practice time, or student choice to avoid practice) than a curriculum pacing issue. This text responds very nicely to this challenge; we have the freedom to set the pace as needed to sufficiently challenge, but not overwhelm, the student population.”

- William Harbinson, Appalachian State University

“The most important feature of any aural skills and sight-singing book is that it includes real musical examples. For this alone, Music for Sight Singing is indispensable.”

- Jill T. Brasky, University of South Florida

“The sequence is logical. Progression from quarter to other note values is excellent. It is a great introduction to rhythms, one step at a time.”

- James Hutching, Carl Sandburg College

From the Publisher