Music for Ear Training, 3rd Edition » (3rd Edition)

Michael Horvit is Professor of Composition and Theory at the Moores School of Music, 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. He has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern, and Transcontinental, and has CDs with the Albany label. Horvit's awards include the Martha Baird Rockefeller Award as well as the National Endowment for the Arts.

Timothy Koozin is known internationally as a specialist in music instructional technology. Dr. Koozin is editor of the electronic journal, MUSIC THEORY ONLINE. His writings appear in PERSPECTIVES OF NEW MUSIC, CONTEMPORARY MUSIC REVIEW, MUSIC THEORY ONLINE, COLLEGE MUSIC SYMPOSIUM, NOTES AND COMPUTERS IN MUSIC RESEARCH. He teaches courses in music theory, analysis, and music technology at the University of Houston, Moores School of Music.

Robert 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.

When it comes to improving ear training and listening skills, choose the standard in ear training instruction: Horvit/Koozin/Nelson MUSIC FOR EAR TRAINING: CD-ROM AND WORKBOOK, Third Edition. Taking a hybrid approach, the workbook and CD deliver a wealth of practical material designed to help you quickly improve your listening and ear training skills. The dual-format CD-ROM provides an easy-to-use interface for listening with varied general MIDI instrumental sounds. The dictation repertoire includes basic rudiments (intervals, chords, and scales), melodies, four-part harmonic settings, and varied textures from musical literature.

1. Intervals, Triads, and Scales. 2. Rhythmic Dictation: Simple Meters. 3. Melodic Dictation: Fifths, Sixths, and Octaves. 4. Rhythmic Dictation: Beat Subdivision by 2. 5. Rhythmic Dictation: Beat Subdivision by 4: Anacrusis. 6. Rhythmic Dictation: Dots and Ties. 7. Melodic Dictation: The Supertonic Triad. 8. Rhythmic Dictation: Compound Meter. 9. Rhythmic Dictation: Triplets. 10. Examples from Literature. 11. Rhythmic Dictation: Syncopation. 12. Melodic Dictation: Scalar Variants, Modal Borrowing, and Decorative Chromaticism. 13. Melodic Dictation: Secondary Dominants. 14. Examples from Music Literature. 15. Melodic Dictation: Modulation to Closely Related Keys. 16. Rhythmic Dictation: Quintuple Meter. 17. Examples from Music Literature. 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. Melodic Dictation: Quartal Harmony. 23. Rhythm: Polyrhythms and Polymeters. Music Dictation: Polyharmony and Polytonality. 24. Melodic Dictation: Interval Music. 25. Melodic Dictation: Serial Music.