Howard Brofsky & Jeanne Shapiro Bamberger - The Art Of Listening: Developing Musical Perception (7xLP, Box) (Very Good (VG))

Media Condition:  Very Good (VG)
Sleeve Condition: Very Good (VG)
Country:    US  
Released:  1969
Genre:       Rock, Non-Music, Classical, Folk World & Country
Style:         Technical, Education, Spoken Word

Comments:
small scuffs and light scratches. sleeve is worn
 

Notes:

Text (319 Pages) and Records (Seven-LP Set) combine to explore systematically the fundamentals of Music and their interrelationship within specific works, developing and progressively refining Musical perception.

The course begins with aspects of Music that might be related most readily to extra musical experience (Sound, Rhythm), and finally arrives at an integrated, in-depth consideration of complete movements. Musical terminology develops contextually.

Sensitive to stylistic differences is build into a general development of aural acuity and is considered important in so far as it frees the student to hear each piece of music in its own terms - to focus on the configuration particular to its unique process and structure.

A brief historical view overview, with one period considered in depth, follows the musical analyses. Here, pertinent musical examples are examined in chronological sequence, and criteria of musical period and nationality of composer are compared.

Harper And Row, publishers
49 East 33rd St., New York. 10016
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Text and  Records / A unique introductory Music course (Review By: Alan Rich)

"The authors have, probably, wisely, fudged the whole problem of translating music into words by providing along with their book a Seven-LP set of examples, to which their text relates cleanly and perceptively. I also admire their freedom from academic hangup in drawing musical examples from Rock and Folksongs as well as Bach.

The book very nicely cuts across history in bearing down on the innards of musical style, leaving the listener free thereafter to approach Music, any Music, with the equipment for bringing himself, at his own speed, into experience."

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Original first pressing; was later re-released as a "Demonstration" record under the same label, Cat. No. # C 10679

Also, the book by the same title has been re-released several times over the years.

. Demonstration 1: The Variety Of Music (P.11)
A1. Examples 1 - 4
A2. Examples 5 - 8
A3. Examples 9 - 10
. Demonstration 2: Sound Relationship (P.15)
A4. Examples 1 - 4
A5. Examples 5 - 6
A6. Examples 7 - 9
A7. Examples 10 - 14
. Demonstration 3: Textures (P.20)
B1. Examples 1 - 2
B2. Examples 3 - 4
B3. Examples 5 - 6
B4. Examples 7 - 9
B5. Examples 10 - 11
B6. Examples 12 - 13
B7. Examples 14 - 15
. Exercise 1: Sound And Textures (P.25)
C1. Examples 1 - 3
C2. Examples 4 - 6
C3. Examples 7 - 9
C4. Examples 10 - 11
C5. Examples 12 - 13
C6. Examples 14 - 16
C7. Examples 17 - 19
C8. Examples 20 - 21
. Demonstration 4
D. Fundamentals Of Rhythm
. Deomstration 5: Experience Of Rhythms (P.41)
E1. Examples 1 - 4
E2. Examples 5 - 9
E3. Examples 10 - 11
E4. Examples 12 - 14
E5. Examples 15 - 17
E6. Examples 18 - 20
E7. Examples 21 - 23
E8. Examples 24 - 25
. Demonstration 6: Melodic Motion And Shape (P.63)
F1. Examples 1
F2. Examples 2 - 4
F3. Examples 5 - 8
F4. Examples 9 - 11
F5. Examples 12 - 15
F6. Examples 16 - 20
F7. Examples 21 - 23
F8. Examples 24 - 25
F9. Examples 26 - 27
. Excercise 2: Return (P.88)
G1. Examples 1 - 2
G2. Examples 3 - 5
G3. Examples 6 - 8
G4. Examples 9 - 11
. Excercise 3: Motivic Repetition (P.92)
G5. Examples 1 - 4
G6. Examples 5 - 8
G7. Examples 9 - 14
G8. Examples 15 - 17
. Demonstration 7: Sectional And Continuos Organization (P.100)
H1. Examples 1 - 2
H2. Examples 3 - 4
H3. Examples 5 - 7
H4. Examples 8 - 9
H5. Examples 10 - 11
H6. Examples 12 - 13
. Demonstration 8: Harmony (P.113)
I. The Building Blocks
. Demonstartion 9: Harmony (P. 126)
J. Structural Functions
. Demonstration 10: Harmonic Motion; Stability And Instability (P.140)
K1. Examples 1 - 2
K2. Examples 3 - 4
K3. Examples 5 - 6
K4. Examples 7
K5. Examples 8 - 11
K6. Examples 12 - 14
K7. Examples 2, 5, 11, 14
K8. Examples 15
. Exercise 4: Major-Minor; I And V (P.119)
L1. Examples 1 - 7
L2. Examples 8 - 20
. Demonstration 11: The Minuet And Scherzo (P.150)
L3. Examples 1 - 3
L4. Examples 4 - 6
. Demonstration 11: (Continued)
M1. Examples 7
M2. Examples 8
. Demonstration 12 (P.157)
M3. Sonata Form
. Exercise 5: Structural Functions (P.166)
N1. Examples 1 - 3
N2. Examples 4 - 6
N3. Examples 7 - 10
N4. Examples 11 - 13
. Demonstration 13: Prelude And Fugue (P.169)
N5. Examples 1 - 2
N6. Examples 3
N7. Examples 4 - 5
N8. Examples 6 - 8
N9. Examples 9

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