Analytical Methods in the Process of Learning Music

• Authors: Imants Mežaraups
• Languages of publication: EN

Abstracts

EN

Introduction. Learning to perform any new musical work is a multi-dimensional task for any musician, young or old, experienced or novice. In most academic situations (as opposed to improvisatorial situations typical for jazz and popular music), the musician must acquire all of the needed musical information from the notated score, and translate that to actual performance. This process can be expedited and made more accurate if analytical methods are employed in studying the musical score.The Aim of the Study. To briefly illustrate analytical methods that have been proposed by music theorists, but here not for the sake of music theory as such, but rather to enhance the learning process for any practicing musician. Analysis can be a practical tool that enables musicians to learn more quickly.Materials and Methods. Study of literature by prominent music theorists; analysis of practical experience acquired as a teacher of music.Results. The examination of analytical methods shows how musical information can be more easily grouped, filtered, ordered, and re-structured. This information can be a useful tool for any music teacher and performer.Conclusions. Music can be learned without much analysis, but then the process of learning will be slower and less insightful. Analysis can offer clues as to how one can better interpret music and perform with greater confidence, understanding, and emotional freedom.

Keywords

EN

analytical methods; structural levels; musical processes; grouping

• Publisher: Sciendo
• Journal: Signum Temporis
• Year: 2010
• Volume: 3
• Issue: 1
• Pages: 34-40

Dates

published

2010-03-01

online

2011-10-20

Contributors

author

Imants Mežaraups

• Riga Teacher Training and Educational Management Academy, Latvia

References

• Berg, S. (1990) Jazz Improvisation: The Goal-Note Method. Delevan, New York: Kendor Music, Inc., 247 p.
• Berry, W. (1976) Structural Functions in Music. New York: Dover Publications Inc., 447 p.
• Friedmann, M. L. (1990) Ear Training for Twentieth-Century Music. New Haven: Yale University Press, 211 p.
• Hindemith, P. (1942) The Craft of Musical Composition, Book 1: Theory. London: Schott & Co Ltd., 223 p.
• Kostka, S. (1990) Materials and Techniques of Twentieth-Century Music. Prentice Hall: Englewood Cliffs, 337 p.
• Larson, S. (1992) Species Counterpoint: A Study of Musical Expression (Unpublished manuscript).
• Sadie, S. (Ed.) (1988) The Norton/Grove Concise Encyclopedia of Music. London: Macmillan Press Ltd, 850 p.
• Salzer, F. (1982) Structural Hearing - Tonal Coherence in Music. New York: Dover Publications, 349 p.
• Schenker, H. (1969) Five Graphic Music Analyses. New York: Dover Publications, 61 p.
• Straus, J. N. (1990) Introduction to Post-Tonal Theory. Prentice Hall: Englewood Cliffs, 218 p.

Identifiers

DOI

10.2478/v10195-011-0032-7