They also share textual traits such as rhyme, scansion, diction, and metaphor. All these wide disparate styles share certain musical commonalities that rely on effective use of the fundamentals of form, texture, melody, harmony, rhythm and timbre. These genres will include Tin Pan Alley, Broadway song, country, blues, jazz standards, rock, folk, singer-songwriter, pop, rap, metal, and EDM. Examples will be studied from a wide variety of genres, to find out what makes them "work" as effective and succinct works of art. Along with the creation of new works, students will also learn about the history and mechanics of the popular song. A final showcase performance will serve as a culmination and final assessment for the course. Guest lecturers will be invited (either in-person or via Zoom) to share their expertise and experience of songwriting. Using a workshop setting, songs will be critiqued by the instructor and fellow students. Projects will be either solo or collaborations (between lyricists and composers, for example), and will feature in-class live (or video) presentations of the works-in-progress. Students will learn how to construct their own songs and present them to their peers and to the public. This course will offer an introduction to the world of songwriting. Rhythms for each section include single and two-part examples as well. Through the progression of content, students will build skills in pattern recognition and an understanding of how music functions. But we have done our best, based on our own experiences, to make sure the skills described in this book are broadly useful for as wide a variety of musicians as possible.MUSC 345. 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. Some of what’s in this text may be less useful to certain people than others. Some things, however, are purposefully omitted because if we included everything, the book would be too long and complicated to be useful. It is our intention that over time, and with feedback and collaboration, we will address more of what we have left out by accident. Some of that is due to our own ignorance, particularly of the needs of musicians and music thinkers who focus on repertoires and practices that we’re less familiar with. Now, we should be honest: there’s no way to actually meet our goal of addressing all the “core skills used by all people involved in music.” There are definitely core skills that we have left out. We all have lots of practice listening to music, but we can develop habits of listening for specific aspects of the music that relate to our goals-whether they are to write it down, improvise over it, or something else. When we read music from notation, for example, if we have developed certain eye-movement habits and procedures, we will be much faster and more accurate. Second, we are developing habits, and especially habits of attention. For example, we internalize the feeling of conducting a measure “in three” so that we can use that feeling to identify what’s going on in music and we internalize the sounds of the different notes in a scale and their relationships so that we can draw on these sounds in our own music-making or music-imagining. These skills belong in two big categories.įirst, we are developing internalized knowledge and physical structures. While the word “aural” indicates that we think of these skills as relating to the ear, in many ways they focus more on the brain. Many schools and departments of music reserve curricular space for aural skills in classes called “aural skills,” “ear training” (or “ear training and sight singing”), “musicianship,” or other terms. “Aural skills” are the core skills used by all people involved in music.
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