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Relevant bibliographies by topics / Sight-reading (Music) Musical ability / Books

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Books on the topic 'Sight-reading (Music) Musical ability'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Vogler, Leonard. How to read music. Amsco Publications, 2000.

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2

How to read music: Reading music made simple. St. Martin's Press, 1999.

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3

Rhythm reading: Elementarythrough advanced training. 2nd ed. W.W. Norton, 1997.

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4

Reading music: A step-by-step introduction to understanding music notation and theory. 2nd ed. Fall River Press, 2012.

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5

Kazez, Daniel. Rhythm reading: Elementary through advanced training. 2nd ed. W.W. Norton, 1997.

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6

Lisa, Bastien, and Bastien Lori, eds. Bastien piano for adults: A beginning course, lessons, theory, technic, sight reading. Neil A. Kjos Music Co., 1999.

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7

Nickol, Peter. Learning to read music: Make sense of those mysterious symbols and bring music alive. 2nd ed. How To Books, 2007.

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8

E, V. A. L. Practical hints on playing at sight. s.n., 1993.

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9

Stewart, Dave. The musician's guide to reading & writing music. GPI Books, 1993.

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10

The musician's guide to reading & writing music. 2nd ed. Miller Freeman Books, 1999.

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11

Ellis, Mark Carlton. The effect of concurrent music reading and performance on the ability of three groups of musicians to detect tempo modulation. s.n.], 1986.

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12

Reading and writing music: 50 ready-to-use activities for grades 3-9. Parker Pub. Co., 1987.

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13

Marton, Anna. Das Rhythmus-Konzept: Ein neuer Weg zur rhythmischen Sicherheit. Musikhaus Pan, 1988.

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14

Youm, Hyun Kyung. Under the spreading chestnut tree. Koomzaal, 2007.

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15

Youm, Hyun Kyung. The goldfish family. Koomzaal, 2007.

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16

Youm, Hyun Kyung. Funga alafia. Koomzaal, 2007.

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17

Youm, Hyun Kyung. Oh, little rabbit. Koomzaal, 2007.

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18

Michael, Baxter, ed. The right way to read music. Elliot Right Way Books, 1993.

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19

Youm, Hyun Kyung. Burung kakatua. Koomzaal, 2007.

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20

Youm, Hyun Kyung. Lightly row. Koomzaal, 2007.

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21

Youm, Hyun Kyung. Itsy bitsy spider. Koomzaal, 2007.

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22

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. s.n.], 1994.

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23

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. s.n.], 1990.

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24

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. s.n.], 1991.

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25

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. s.n, 1993.

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26

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. s.n.], 1989.

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27

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. s.n.], 1988.

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28

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. s.n.]., 1986.

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29

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. s.n.], 1992.

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30

Deutsch, Diana. Musical Illusions and Phantom Words. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.001.0001.

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In this groundbreaking synthesis of art and science, Diana Deutsch, one of the world’s leading experts on the psychology of music, shows how illusions of music and speech – many of which she discovered - have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns - differences that reflect both variations in brain organization and influences of language on music perception. They lead Deutsch to examine questions such as: When an orchestra performs a symphony, what is the ‘real’ music? Is it in the min

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31

Capodilupo, Alessandra M. Sight reading of musical notation: A NeoPiagetian investigation. 1985.

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32

Honisch, Stefan Sunandan. Moving Experiences. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.34.

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This essay asks how navigating the world without sight can influence musical interpretation and enable a blind performer to make music move in unfamiliar ways. A recording of Frédéric Chopin’s Prelude in B Minor Op. 28 No. 6 by the blind Hungarian pianist Imre Ungár (1909–1972) constitutes the focal point for an analysis guided simultaneously by Naomi Cumming’s (2000) conceptualization of “the performing self” (a musical identity that emerges through the performer’s ability to control the movement of notes) and by Joseph Straus’s (2011) conception of “mobility-inflected hearing” (musical unde

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33

Sight-Read Any Rhythm Instantly. Cherry Lane Music, 2002.

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34

Stuart, Rory. The rhythm book: Beginning notation and sight-reading. 2018.

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35

How to Read Music: Easy-to-Use, Easy-to-Learn, Simple Musical Examples. Flame Tree Publishing, 2008.

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36

Rhythm Reading: Elementary Through Advanced Training. Mayfield Pub Co, 1989.

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37

How to Read Music. Carlton Books Limited, 1999.

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38

How to Read Music. Carlton Books Ltd, 2005.

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39

How to Read Music. Carlton Books Ltd, 2001.

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40

Bastien, Jane Smisor, Lisa Bastien, and Lori Bastien. Piano for Adults: A Beginning Course : Lessons, Theory, Technic, Sight Reading. Neil a Kjos Music Co, 1999.

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41

Grutzmacher, Patricia A. The effect of tonal pattern training on the aural perception, reading recognition and melodic sight reading achievement of first year instrumental music students. 1985.

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42

Bastien Piano for Adults - A Beginning Course: Lessons - Theory - Technic - Sight Reading - Book 2. Neil A. Kjos Music Co., 2000.

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43

The Everything Reading Music Book: A Step-By-Step Introduction To Understanding Music Notation And Theory (Everything: Sports and Hobbies). Adams Media Corporation, 2005.

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44

Learn to Read Music: An Introduction to Keys, Chords, Notes, Beats and Everything Else You Need to Know. MJF Books, 2003.

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45

Wilson Kimber, Marian. Reading the Fairies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0003.

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Between 1850 and 1920, readings of Shakespeare’s A Midsummer Night’s Dream by women took place in conjunction with concerts of Felix Mendelssohn’s incidental music, popularized by actress Fanny Kemble. The practice responsed to criticism of the physicality of theatrical stagings and the ability of Mendelssohn’s music to depict extramusical content. Female elocutionists were considered ideal performers due to the depiction of fairies as female and in order to render Shakespeare’s pure poetry stripped of theatrical excess. The combination of Shakespeare and Mendelssohn represented the highest le

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46

Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.

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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and e

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47

Right Way to Read Music. Little, Brown Book Group Limited, 2008.

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48

Baxter, Harry, and Michael Baxter. The Right Way to Read Music. Elliot Right Way Books, 2001.

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49

Berg, Christopher. The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.001.0001.

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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systemati

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50

Johansen, Bruce, and Adebowale Akande, eds. Nationalism: Past as Prologue. Nova Science Publishers, Inc., 2021. http://dx.doi.org/10.52305/aief3847.

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Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living t

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