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Aural Training and Sight Singing Supplement for Comprehensive Musicianship: A Practical Resource
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CC BY-NC-SA
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This supplement was designed to help students build a strong foundation in aural training and sight singing by progressing through the core rhythmic and melodic patterns that are found in music. Through the progression of content, students will build skills in pattern recognition and an understanding of how music functions. Rhythms for each section include single and two-part examples as well as pitched examples for use in aural training. Melodies for each section include single line melodies, canons, duets, and chorales. Melodies were designed to be easily accessible for students with basic keyboard skills, and were written without articulation and dynamic markings to allow students and instructors the flexibility to personalize them.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Textbook
Provider:
University of Northern Iowa
Author:
Daniel Swilley
Heather Peyton
Jonathan Schwabe
Randall Harlow
Date Added:
04/04/2023
The Basic Elements of Music
Unrestricted Use
CC BY
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This open book by Catherine Schmidt-Jones has units on time elements (rhythm and meter), pitch elements (timbre, melody, and harmony), and the combination of these elements. The textbook is being provided in both PDF and html formats for download.

Subject:
Performing Arts
Material Type:
Textbook
Author:
Peter Musser
Date Added:
09/30/2022
Fundamentals of Music
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CC BY-NC-SA
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This class introduces students to the rudiments of Western music through oral, aural, and written practice utilizing rhythm, melody, intervals, scales, chords, and musical notation. The approach is based upon the inclusive Kodály philosophy of music education. Individual skills are addressed through a variety of means, emphasizing singing and keyboard practice in the required piano labs.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Wood, Pamela
Date Added:
02/01/2007
Harmony and Counterpoint I
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CC BY-NC-SA
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In this subject we will study the basic harmonic, melodic, and formal practices of western music, principally the classical music of central Europe during the eighteenth century. Topics will include diatonic harmony, simple counterpoint in two parts, and tones of figuration. The coursework will combine composition, listening, analysis, and work in sight-singing and keyboard musicianship.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Robison, Brian
Date Added:
02/01/2005
Harmony and Counterpoint II
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CC BY-NC-SA
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In this subject, we explore the harmonic, melodic, and formal practices of western music, principally the so-called "Classical" idiom of central Europe, ca. 1750-1825. Topics include a quick review of material covered in 21M.301, chromatic harmony (vii, bII, and chords of the augmented sixth), and chromatic modulation; lecture study and discussion are complemented by work in the keyboard laboratory and sight-singing laboratory. All areas of study will be integrated in a semester-long project of composing a theme and two variations in Classical style.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Robison, Brian
Date Added:
02/01/2005
Music Perception and Cognition
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CC BY-NC-SA
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This course is a survey of perceptual and cognitive aspects of the psychology of music, with special emphasis on underlying neuronal and neurocomputational representations and mechanisms. Basic perceptual dimensions of hearing (pitch, timbre, consonance/roughness, loudness, auditory grouping) form salient qualities, contrasts, patterns and streams that are used in music to convey melody, harmony, rhythm and separate voices. Perceptual, cognitive, and neurophysiological aspects of the temporal dimension of music (rhythm, timing, duration, temporal expectation) are explored. Special topics include comparative, evolutionary, and developmental psychology of music perception, biological vs. cultural influences, Gestaltist vs. associationist vs. schema-based theories, comparison of music and speech perception, parallels between music cognition and language, music and cortical action, and the neural basis of music performance.

Subject:
Applied Science
Biology
Health, Medicine and Nursing
Life Science
Physical Science
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Cariani, Peter
Date Added:
02/01/2009
Music Theory for the 21st-Century Classroom
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Educational Use
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Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Textbook
Provider:
University of Puget Sound
Author:
Robert Hutchinson
Date Added:
11/18/2021
Music Theory for the 21st-Century Classroom
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Educational Use
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Music Theory for the 21st–Century Classroom is an openly–licensed online college music theory textbook that is meant to take the student from the basics of reading and writing pitches and rhythms through twelve–tone technique and minimalism over the course of four semesters. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. Whenever possible, examples from popular music and music from film and musical theater are included to illustrate melodic and harmonic concepts, usually within the context of the phrase. Practice exercises (with answers), homework exercises, and practice tests are included.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
University of Puget Sound
Author:
Robert Hutchinson
Date Added:
06/03/2021
Musical Analysis
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CC BY-NC-SA
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This class is an introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in 21M.301-21M.302. Students study rhythm and form, harmony, line and motivic relationships at local and large scale levels of musical structure. Three papers (totaling 20 pages, one to be revised) and one oral presentation are required.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Child, Peter
Date Added:
02/01/2008
Writing in Tonal Forms I
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Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Child, Peter
Date Added:
02/01/2009
Writing in Tonal Forms II
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This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required.

Subject:
Arts and Humanities
Performing Arts
Material Type:
Full Course
Provider:
MIT
Provider Set:
MIT OpenCourseWare
Author:
Shadle, Charles
Date Added:
02/01/2009