Progressive Course of Musical Dictation. Teaching Aid
The proposed collection of dictations, created by Professor Igor Konstantinovich Kuznetsov of the Department of Music Theory at the Moscow Conservatory, aims to supplement the modern course of solfeggio with material that will facilitate the immediate mastery of individual styles...
of the greatest composers of the past and present through musical ear training. The methodological approach chosen is the principle of gradual transformation, individualization of intonational and texture-stylistic principles characterizing the works of composers from the 19th and 20th centuries. Unlike the popular dictations of T. F. Müller, B. K. Alexeev, D. A. Blum, N. S. Kachalina, and others, these dictations overcome, on the one hand, the neutral stylistic intonational content typical of instructional literature, and on the other, the traditional principle of selecting artistic examples written in the medium (tonal) sound range and not touching upon the paratonic and sonorous zone of the register. This edition is addressed to students of the senior classes of secondary special music schools, conservatories, and colleges, as well as university students in musicology, composition, piano departments, and symphonic conducting departments. It meets federal state requirements.
The proposed collection of dictations, created by Professor Igor Konstantinovich Kuznetsov of the Department of Music Theory at the Moscow Conservatory, aims to supplement the modern course of solfeggio with material that will facilitate the immediate mastery of individual styles of the greatest composers of the past and present through musical ear training. The methodological approach chosen is the principle of gradual transformation, individualization of intonational and texture-stylistic principles characterizing the works of composers from the 19th and 20th centuries. Unlike the popular dictations of T. F. Müller, B. K. Alexeev, D. A. Blum, N. S. Kachalina, and others, these dictations overcome, on the one hand, the neutral stylistic intonational content typical of instructional literature, and on the other, the traditional principle of selecting artistic examples written in the medium (tonal) sound range and not touching upon the paratonic and sonorous zone of the register. This edition is addressed to students of the senior classes of secondary special music schools, conservatories, and colleges, as well as university students in musicology, composition, piano departments, and symphonic conducting departments. It meets federal state requirements.
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