Designed for the "musicianship" portion of the freshman-sophomore music theory sequence, Benjamin/Horvit/Koozin/Nelson's MUSIC FOR SIGHT SINGING, Seventh Edition, presents music that is challenging without overwhelming young musicians. With over 1,400 melodies, rhythms and vocal ensemble pieces, it combines a carefully graded sequence of newly composed musical examples with selections from music literature. It includes early music, Classical and Romantic music, works by contemporary composers and female composers, representations of international cultures, popular music, Broadway, jazz and more. Drawing on their extensive experience as composers and music theorists, the authors deliver a comprehensive approach for sight singing to complement the full aural skills and music theory curriculum. Broad breadth of coverage and thoughtful organization provide for well-rounded skill development.
Part I: COMMON PRACTICE TECHNIQUES: DIATONIC.
1. Rhythm: One-and-Two-Pulse Units (Unmetered). Pitch: The Major Scale.
2. Rhythm: Simple Meters. Pitch: Introducing Thirds. Pitch: Introducing Fourths.
3. Pitch: Tonic Triad in the Major Mode. Introducing Fifths, Sixths, and Octaves.
4. Rhythm: 2:1 Subdivisions of the Beat. Pitch: I, V, and V7; Introducing Sevenths.
5. Rhythm: Anacruses (Upbeats) and 4:1 Subdivisions of the Beat. Pitch: I, IV, V, and V7. Pitch: Introducing the Alto Clef.
6. Rhythm: Dots and Ties. Pitch: Minor Mode.
7. Music from the Literature.
8. Rhythm: Compound Meter. Pitch: Supertonic Traid. Pitch: Submediant and Mediant Triads. Pitch: Tenor Clef.
9. Rhythm: Triplets and Duplets.
10. Music from the Literature.
11. Rhythm: Syncopation. Pitch: Other Seventh Chords.
Part II: COMMON PRACTICE TECHNIQUES: CHROMATIC.
12. Pitch: Decorative Chromaticism.
Pitch: Inflected Scale Degrees. Pitch: Scalar Variants in Minor. Pitch: Modal Borrowing.
13. Music from the Literature.
14. Pitch: Secondary Dominants.
15. Pitch: Modulations to Closely Related Keys.
16. Rhythm: Quintuple Meters. Pitch: Chromaticism Implying Altered Chords; Modulation to Distantly Related Keys.
17. Music from the Literature.
Part III: TWENTIETH-CENTURY TECHNIQUES.
18. Rhythm: Irregular Meters. Pitch: Diatonic Modes. Pitch: Changing Clefs. Part Music.
19. Rhythm: Changing Meters.
Pitch: Pandiatonicism.
20. Rhythm: Syncopation Including Irregular and Mixed Meters. Pitch: Extended and Altered Tertian Harmony.
21. Pitch: Exotic Scales.
22. Rhythm: Complex Divisions of the Beat. Pitch: Quartal Harmony.
23. Rhythm: Polyrhythms and Polymeters. Pitch: Polyharmony and Polytonality.
24. Pitch: Interval Music.
25. Serial Music.
26. Music from the Literature.
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Thomas E. Benjamin
Thomas E. Benjamin recently retired as chair of the Department of Music Theory at the Peabody Conservatory of The Johns Hopkins University. A composer, conductor, performer and music theorist with more than 40 compositions published and recorded, he also holds fellowships and awards from the MacDowell Colony, Yaddo and the National Endowment for the Arts.
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Michael Horvit
Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan and Israel. In addition to CDs with the Albany label, he has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern and Transcontinental. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.
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Timothy Koozin
Timothy Koozin is professor and division chair of Music Theory at the Moores School of Music at the University of Houston. He has published widely in scholarly journals and in collected essays published by Cambridge University Press, Ashgate and Routledge on topics including music and meaning, popular music, film music and music instructional technology. He is former editor of MUSIC THEORY ONLINE, the electronic journal of the Society for Music Theory.
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Robert S. Nelson
Robert S. Nelson teaches music theory and composition at the Moores School of Music, University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he has also received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra.
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The latest edition of this longtime favorite offers a wealth of new melodies and ensemble pieces from music literature by an array of major composers. The collection includes improved representation of international cultures, female composers as well as broadly diverse musical styles -- from early music to modernism, popular music, Broadway and jazz.
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The Seventh Edition includes a larger number of less difficult melodies, improving the graded pacing of material covered in the aural skills sequence.
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Combining easily with ear-training curriculum, the Seventh Edition of MUSIC FOR SIGHT SINGING coordinates more closely with Horvit/Koozin/Nelson's MUSIC FOR EAR TRAINING, Fourth Edition.
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The text's broad breadth of coverage and thoughtful organization provide for well-rounded skill development for young musicians with varied backgrounds.
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Extremely student friendly, the text takes a multifaceted approach that incorporates an assortment of examples, including preliminary exercises, melodies/rhythms, duets, canons, sing and play, and music from literature.
Instructor's Companion Website for Benjamin/Horvitt/Koozin/Nelson's Music for Sight Singing
9780357507780
Cengage eBook: Music for Sight Singing 12 Months
9788000033594