LIES MY MUSIC TEACHER TOLD ME BY
GERALD ESKELIN
▸ Baca selengkapnya: my teacher … new book yesterday
(2)(3)LIES MY MUSIC TEACHER TOLD ME BY GERALD ESKELIN
How can? Do you believe that you don't require enough time to go with buying book Lies My Music Teacher Told Me By Gerald Eskelin Don't bother! Merely rest on your seat. Open your gadget or computer system and be online. You can open up or see the web link download that we gave to get this Lies My Music Teacher Told Me By Gerald Eskelin By in this manner, you could get the on the internet e-book Lies My Music Teacher Told Me By Gerald Eskelin Reading guide Lies My Music Teacher Told Me By Gerald Eskelin by online could be truly done effortlessly by saving it in your computer and device. So, you could proceed every single time you have downtime.
Review
"We should always be grateful for books—on any subject—that force us to take a new angle of vision, to interpret familiar things in a fresh way. Dr. Eskelin's amusing and instructive dissertation does that, and much more." —Steve Allen, entertainer and TV personality
"Lies shows in profoundly understandable terms how to fine-tune one's musical sensibility." —Alan Paul, The Manhattan Transfer
"Eskelin's lighthearted first-person approach makes the book very readable. Students of all levels could certainly learn something from this material but it would also interest music educators and even music theorists." —Music Educators Journal
About the Author
Download: LIES MY MUSIC TEACHER TOLD ME BY GERALD ESKELIN PDF
Lies My Music Teacher Told Me By Gerald Eskelin In fact, publication is actually a window to the globe. Also many people could not such as checking out publications; the books will certainly always give the exact information concerning reality, fiction, experience, adventure, politic, religious beliefs, and also more. We are here a site that offers collections of books more than the book establishment. Why? We offer you great deals of varieties of link to obtain the book Lies My Music Teacher Told Me By Gerald Eskelin On is as you require this Lies My Music Teacher Told Me By Gerald Eskelin You can discover this book effortlessly here.
For everybody, if you want to begin joining with others to check out a book, this Lies My Music Teacher Told Me By Gerald Eskelin is much recommended. And also you need to get the book Lies My Music Teacher Told Me By Gerald Eskelin right here, in the link download that we provide. Why should be below? If you desire other kind of publications, you will constantly discover them as well as Lies My Music Teacher Told Me By Gerald Eskelin Economics, national politics, social, sciences, faiths, Fictions, as well as much more publications are provided. These offered publications are in the soft data.
LIES MY MUSIC TEACHER TOLD ME BY GERALD ESKELIN
A number of musical misconceptions are explored and exploded in this humorous and lucid discussion of the relation between the human perception of music and traditional systems of music education. Drawing on his extensive background in the music world, the author marshals an informal yet rigorous logic to guide the reader through the practical experiences and careful thinking that led him to his conclusions. Updated and refined in the light of reader feedback and more recent thinking, nagging questions such as Why does formal musical training seem not to pertain to musical success? and Why is there such a dramatic disparity between what one is told about music and how one actually experiences it? are re-addressed. Seekers of musical truth stand to profit from this light-hearted assault on the more nebulous assumptions of the musical community.
Sales Rank: #908417 in Books
Dimensions: .45" h x 6.52" w x 8.40" l, .52 pounds
●
"We should always be grateful for books—on any subject—that force us to take a new angle of vision, to interpret familiar things in a fresh way. Dr. Eskelin's amusing and instructive dissertation does that, and much more." —Steve Allen, entertainer and TV personality
"Lies shows in profoundly understandable terms how to fine-tune one's musical sensibility." —Alan Paul, The Manhattan Transfer
"Eskelin's lighthearted first-person approach makes the book very readable. Students of all levels could certainly learn something from this material but it would also interest music educators and even music theorists." —Music Educators Journal
About the Author
Gerald Eskelin is a conductor, singer, composer, writer, and teacher. He is the author of The Sounds of Music: Perception of Notation and Natural Ear Training. He has received two Grammy nominations for recordings by the L.A. Jazz Choir, which he founded in 1980. Prior to his 30-year tenure as a professor of music at Pierce College in Los Angeles, he taught at the University of Southern California and the California Institute of the Arts. He lives in Woodland Hills, California.
Most helpful customer reviews
32 of 32 people found the following review helpful. Controversial? No. Worthwhile? Perhaps!
musical terms, and even gets a few facts wrong. (You're waiting for the "But", right? Be patient, it's coming!)
I am a music theory professor, and have talked at length with many music theorists about theory pedagogy, and even have presented a paper on theory pedagogy at a conference. In my experience, in most music theory classrooms and private studios, too little emphasis is put on the way of teaching that Eskelin tries to model in his book. Eskelin, having not thoroughly studied the history of music theory or current music theory research, theory pedagogy research, and music perception and cognition research, ultimately is not as successful as some more experienced writers/teachers might be. And yet some of the alternatives to traditional ways of presenting musical fundamentals that Eskelin discusses in the book are still quite worthwhile. (Note: Most of the material taught in the book is simply musical rudiments, building blocks, notation, and practical information. These are not really music theory, which studies the structure, form, design, aesthetics, meaning, and interpretation of real music, and also speculates more abstractly about musical structure and aesthetics.)
Eskelin perhaps conflates the concepts of musical meter and time signature. But his general approach is a good one, even if oversimplified. Basically, all meters can be categorized based on the relationships among three related pulse streams (felt or implied beats, not necessarily heard beats): the measure (or bar), the main beat, and the beat's first level of subdivision. The reason why it is called a time signature and not just a meter signature is that it tells a musician more than just the meter (information that is encapsulated entirely into the top number of the time signature). A time signature tells how the meter will be written in note values (what note value gets the main beat, information that is encapsulated into the bottom number of the time signature), and even sometimes a general tempo range for the piece. Although 2/2, 4/4, and 2/4 are all simple duple meters, pieces written in cut time (2/2) are typically felt differently from pieces written in common time (4/4) or 2/4, or else we wouldn't have music written in each of these time signatures.
One particularly important point that Eskelin makes is that some less sophisticated musicians think that scales are merely technical exercises, when in fact they are tonal resources--systems of potential harmonic relationships within a key. While Eskelin blindly perpetuates Hindemith's conflation of the terms root and tonic, his espousal of emphasizing this perspective when teaching about scales is still good advice. To accomplish this a teacher can tell students to write their scales in thirds, or descending, or in a random order, always without using the key signature (using accidentals instead) or using a different key signature entirely, or to name the nth scale degree of any key using the proper accidental. Teachers can also have their students memorize all of the diatonic intervals using singing exercises that are structured like games. (I know that these are not revolutionary ideas, but I wish that my theory teachers had done this with me!)
that he has not done his math homework. The just major third 5/4 is less than the equal-tempered major third 2^(4/12) =~ 1.2599, meaning that it is lower, not higher. (I also have trouble with the notion that we all somehow hear everything in equal temperament all the time in our imaginations, but--since I can't tell you the alternative tuning in which people imagine music--that's an argument for another day.)
If you are the type of person who believes everything that is presented in black and white print, then this book is not for you. If you are the type of person who reads skeptically, critically, and analytically, then this book may or may not interest you. (You will probably find Eskelin's ideas somewhat less exciting than promised.) If you have had a relatively poor musical education, then this book might be enlightening. If you want to improve your way of teaching music, then this book may have a few hints that could help you. I still find myself recommending this book despite its obvious flaws, simply because it brings together a lot of information from many different sources (mostly uncredited) into a quick and easy read.
15 of 18 people found the following review helpful. This book will surprize you!
By Paul La Rocca
This book will surprize you! My initial impression, based on the title alone, was "Oh no, not another one of those books". But as I thumbed through it, I was pulled in by some real "truths" that I was aware of (such as well-tempered vs. "natural" tuning). I think that the explanations are quite clear and presented in a straight-forward and interesting way. There is some real theory in there such as the Hindemith concept of intervals and the tritone theory for key identification (for the technically inclined)
I can see from comments by other reviewers that there were some objections that really amount to differences in style and delivery ("eccentric"?) rather than content. I personally found the author's sometime glib comments and interesting sidetracks rather refreshing. Let's be honest, this topic can be dead-dull if not mixed in with some lightness and humour- which probably explains why the thornier matter of musical theory is usually relegated to graduate seminars and dusty textbooks!
As both a scientist and musician, I think this book achieves it's goal in an interesting and informative way by trying to make critical concepts of music theory accessible and relevant to music as we hear it. It does this by challenging the crutches of the well-tempered piano and the limits of musical notation.
Like anything in life, you can get out of this book what you want. You can read it as a expose of "lies", or as an attempt to make music relevant to how we really hear it- which is what I think the author tries to communicate. It's up to you!
19 of 24 people found the following review helpful. Try again.
By A Customer
I've docked this a star for its smarmy, unctious, obnoxious manner of presentation. It violates two of E.B. White's cardinal rules (as set forth in "The Elements of Style"): 1. Do not affect a breezy manner. 2. Do not talk down to your readers. ("Lies" calls itself an exposition for grownups--or adults, as we grownups usually prefer to refer to ourselves-- but it treats its readers like particularly backward children.) (It also consistently violates another of E.B White's rules: it forgets that "hopefully" is an adverb and uses it instead as a synonym for "I hope" or "let's hope".)
Prospective purchasers should be cautioned that "Lies" is written from the standpoint of a singer and implicitly assumes its readers are primarily interested in singing. There is nothing intrinsically wrong with this, but readers who have experience with singers and vocal teachers (and who are not themselves singers) should know why I point this out.
instead "Science and Music" by Sir James Jeans.
To sum up: I recommend for interested laymen "The ABC of Music" by Imogen Holst and "Science and Music" by Sir James Jeans. I recommend for musicians and music students "Principles of Rhythm " by Paul Creston. I recommend for writers, editors, and publishers "The Elements of Style" by E.B. White and William Strunk.
LIES MY MUSIC TEACHER TOLD ME BY GERALD ESKELIN
Gather the book Lies My Music Teacher Told Me By Gerald Eskelin start from now. However the new way is by collecting the soft file of guide Lies My Music Teacher Told Me By Gerald Eskelin Taking the soft documents can be saved or kept in computer system or in your laptop computer. So, it can be greater than a book Lies My Music Teacher Told Me By Gerald Eskelin that you have. The easiest way to reveal is that you can likewise conserve the soft data of Lies My Music Teacher Told Me By Gerald Eskelin in your ideal as well as readily available gadget. This condition will intend you frequently check out Lies My Music Teacher Told Me By Gerald Eskelin in the spare times more than talking or gossiping. It will not make you have bad habit, yet it will lead you to have much better routine to check out book Lies My Music Teacher Told Me By Gerald Eskelin.
Review
"We should always be grateful for books—on any subject—that force us to take a new angle of vision, to interpret familiar things in a fresh way. Dr. Eskelin's amusing and instructive dissertation does that, and much more." —Steve Allen, entertainer and TV personality
"Lies shows in profoundly understandable terms how to fine-tune one's musical sensibility." —Alan Paul, The Manhattan Transfer
"Eskelin's lighthearted first-person approach makes the book very readable. Students of all levels could certainly learn something from this material but it would also interest music educators and even music theorists." —Music Educators Journal
About the Author
Gerald Eskelin is a conductor, singer, composer, writer, and teacher. He is the author of The Sounds of Music: Perception of Notation and Natural Ear Training. He has received two Grammy nominations for recordings by the L.A. Jazz Choir, which he founded in 1980. Prior to his 30-year tenure as a professor of music at Pierce College in Los Angeles, he taught at the University of Southern California and the California Institute of the Arts. He lives in Woodland Hills, California.