Tonal Markers, Melodic patterns, and musicianship training Part1: rhythm reduction

1. According to “The Stratification of Musical Rhythm,” theory by Maury Yeston clear distinction between rhythm-to-pitch and pitch-to-rhythm is made. Of what significance is differentiation to artists? Additionally, pitches of an ascending chord produced on three beats of measure are considered more important in level A than the static dotted quarter notes at level B. What does this imply or reinforce

2. A Generative Theory of Tonal Music uses principles of hierarchy and methodology of current linguistics. What aspect is primarily revealed by this theory of Fred Lerdahl? Which are the areas of hierarchy that have influence in the modern study of tonal music?

3. According to page 13 of the article, it is emphasized that the first step to developing musical memory is to have students memorize an array of common rhythm patterns. The patterns will be sung from memory although, in the long run, they may hardly appear on every scale degree in music literature. If the student sings from memory using the absolute pitch names, why is it helpful to transpose the names into a variety of keys?

4. Rhythm reduction is a technique that helps in developing sight singing skills. Students that are visually and aurally familiar to a key of a melody can sing the first notes while maintaining a steady beat. How and what do they do so as to maintain the tempo?

5. (Page 20) how does improvisation allow more creativity in comparison to both sight singing and ear training? Using this technique a teacher set parameters that will incorporate each student to participate in the exercise. Why is it important for a teacher to make sure that they have established a playful atmosphere for the students?

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