Isbn: 9780198790211 - aural awareness: principles and practice (31 resultados)

Paperback. Condición: Very Good. Aural Awareness: Principles and Practice This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.…

Condición: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condición: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. …

Condición: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9780198790211.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9780198790211.

Condición: New. Satisfaction Guaranteed or your money back.

Paperback. Condición: New. In shrink wrap. Looks like an interesting title.

Condición: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. This book argues that much of this area of the subject can best be worked on alone. It demonstrates how every student can make some encouraging progess in these aspects of music. Num Pages: 164 pages, music examples. BIC Classification: AVA. Category: (P) Professional & Vocational. Dimension: 214 x 141 x 10. Weight in Grams: 228. . 2006. Revised. paperback. . . . .…

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: New.

Condición: New. In English.

Condición: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. This book argues that much of this area of the subject can best be worked on alone. It demonstrates how every student can make some encouraging progess in these aspects of music. Num Pages: 164 pages, music examples. BIC Classification: AVA. Category: (P) Professional & Vocational. Dimension: 214 x 141 x 10. Weight in Grams: 228. . 2006. Revised. paperback. . . . . Books ship from the US and Ireland.…

Paperback. Condición: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.…

Condición: As New. Unread book in perfect condition.

Paperback. Condición: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.…

paperback. Condición: As New. This item is printed on demand.

Condición: new. Questo è un articolo print on demand.

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condición: new. Paperback. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of othermusical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics andarticulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them intocoherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges,conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible forpupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used byindividuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down theun-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. Sothe book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture. Pratt focuses on music's expressive nature, with games, experiments, and exercises to open our ears without being overburdened with terms and technicalities. Although primarily aimed at music students and their teachers in sixth-forms, universities and conservatoires, this book contributed to, and reflects, the National Curriculum in Music. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of othermusical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics andarticulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them intocoherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges,conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible forpupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used byindividuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down theun-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. Sothe book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture. Pratt focuses on music's expressive nature, with games, experiments, and exercises to open our ears without being overburdened with terms and technicalities. Although primarily aimed at music students and their teachers in sixth-forms, universities and conservatoires, this book contributed to, and reflects, the National Curriculum in Music. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Condición: new. Paperback. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of othermusical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics andarticulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them intocoherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges,conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible forpupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used byindividuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down theun-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. Sothe book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture. Pratt focuses on music's expressive nature, with games, experiments, and exercises to open our ears without being overburdened with terms and technicalities. Although primarily aimed at music students and their teachers in sixth-forms, universities and conservatoires, this book contributed to, and reflects, the National Curriculum in Music. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Condición: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. This book argues that much of this area of the subject can best be worked on alone. It demonstrates how every student can make some encouraging proge.…

Condición: New. Print on Demand pp. 168.

Condición: New. Print on Demand pp. 168 1:B&W 5.5 x 8.5 in or 216 x 140 mm (Demy 8vo) Perfect Bound on Creme w/Gloss Lam.

Condición: New. PRINT ON DEMAND pp. 168.