Exercicis d'Entonació per a l'Educació de l'Oïda. 1 La tonalitat
Inside Pages
Author/Composer
Field
Music Schools and Conservatoires Intermediate Level
Collection
Language
Format
Book
Contents
Learning and playing music involve combining aspects of a complex of skills and abilities ranging from physical dexterity to complicated mental processes live in real time during a performance. Even simply reading a musical score displays the wide range of components needed for producing music: knowledge is required in order to identify the notes on the staff in different keys and the bars that determine the duration of each, to locate these notes on the instrument itself, and, of course, to give the whole piece appropriate artistic expression, as intended by the composer or by the players themselves.
Amidst such complexity, one of the most essential factors is the training of the ear. As music is basically addressed to our sense of hearing, it would seem logical that the development of this faculty should be of primary importance in the learning process. Despite this, it is often assumed that an ear for music develops by itself as instrumental skills improve. While it is clear that our auditory skills do get better as our instrumental techniques evolve, this is not enough. Instruments such as the voice, for example, are highly reliant on our capacity for auditory recognition. Furthermore, the instrument itself is dependent on our knowledge of how it should sound, and this in turn can prevent inapproriate 'anticipation', an important aspect of musical practice.
Amidst such complexity, one of the most essential factors is the training of the ear. As music is basically addressed to our sense of hearing, it would seem logical that the development of this faculty should be of primary importance in the learning process. Despite this, it is often assumed that an ear for music develops by itself as instrumental skills improve. While it is clear that our auditory skills do get better as our instrumental techniques evolve, this is not enough. Instruments such as the voice, for example, are highly reliant on our capacity for auditory recognition. Furthermore, the instrument itself is dependent on our knowledge of how it should sound, and this in turn can prevent inapproriate 'anticipation', an important aspect of musical practice.
Technical Specifications
Measurements
21 x 29,7 cm, vertical
Binding
Adhesive binding. Plastic-coated cover.
Number of Pages
78
ISMN
979-0-69210-659-3
Editor
DINSIC Publicacions Musicals
Also collaborating:
Cover Designer
Irene Solsona
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[continguts_generals] => Along the different chapters of the book we will check, in an organized way (relatively organized and according to my point of view, of course), the whole system of symbols, codes and mechanisms used in music writing. In many cases we will also establish parallelisms between language (verbal) and musical language. Though they are two totally different faculties and even ruled by different parts of the brain, it is interesting to take the meaning of concepts such as spelling, grammar or syntax in order to determine behaviours and procedures when writing a score correctly.
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