![]() ![]() Impossible-a separate keyboard here is a must. Syncopations, and doing them correctly in tempo with a mouse is virtually Some of the ear training exercisesĪre ingeniously difficult, often with awkward intervals and tricky Similar harmonic usage in Mozart), irregular accents and rhythmic patterns,Īnd similar university-level matters which presuppose a fair amount ofįamiliarity with the musical language. Orchestra scoring, harmonic analysis (e.g., comparing Blues progressions to In its advanced stages it gets into two- and four-part composition, Practica Musica is a very sophisticated and well-organized learning Individual drags and drops of the mouse, plus some options on the computer It, one must place notes, accidentals and other signs on the staff with Since all notation is generated on the staff directly from playing. Though no external keyboard is supplied, connecting a MIDI keyboard to yourĬomputer is not only compatible with the software but far more convenient, Substituted) the musical staff at the top, with directions and evaluationsįor each activity and the various signs and symbols to be selected in the Plain or with letter names on the notes (a guitar fretboard may be Screen remains essentially the same: a five-octave keyboard at the bottom, There are more than eighty customizable activities, and in all of them the ![]() The format of the screen display is simple and consistent. Hand, while the activities menu follows closely the textbook chapters and Illustrate, or offer appropriate activities and exercises for the matter at Text, there are references to the corresponding screens which augment, That the two compliment, rather than imitate, each other: throughout the This is not to say, however, that the combination of printed text andĬomputer software is awkward in any way. Program and book developed side-by-side." Paper (in the Preface the author, Jeffrey Evans, notes, "Certain tasks,Īfter all, are best done by hand.") According to Mr. There are, in fact, exercises meant to be written on Practica Musica is accompanied by a full-sized theory textbook some 3/4 ofĪn inch thick, complete with copious examples, historical essays, andĬould be used by itself with an ordinary piano. Views as to the appropriate audience for the product were similar to those Note: A second reviewer examined Practica Musica for PEP. Fifth, the aforementioned three compositions are arranged and expanded to varying degrees in order to allow them to be performed by contemporary Western small chamber wind groups – the brass quintet and the woodwind ensemble – in pedagogical and other contexts.Ed. ![]() Fourth, a composition is written in each musical tradition explicitly using these most typical traits: Three Swans (Russian vocal folk polyphony), Torontovka (Russian village accordion repertoire) and Song To Our Children (Soviet tourist/traveller bard song). Third, these analyses, performed upon dozens or hundreds of examples, are compared in order to discover the most typical traits of each musical language or dialect. Second, a sizeable number of representative pieces or examples from each tradition are analyzed with the use of special methodologies tailor-made to show the most prominent apparent organizational principles in the music (including modes and chord progressions, melodic contour, musical form, poetic form and meter). First, a historical overview of the development of each tradition is provided. Each musical tradition is taken through five steps. ![]() This dissertation performs analyses of and compositions in three musical traditions that have received little attention in the English-speaking literature: Russian vocal folk polyphony (as described by theorist Aleksandr Kastalskiy in the 1920s), Russian village accordion repertoire and Soviet tourist/traveller bard songs. ![]()
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