Practica Musica 6 has a new look - its 225 On Macs the built-in sound is all you need even for rhythm tapping, though you can connect an external device if you want to.Įasy to navigate. For Windows computers we recommend connecting an external "MIDI" sound device if you're interested in doing real-time rhythm tapping activities for activities that don't involve playing notes in time the built-in sound is enough. Practica Musica 6 is compatible with Windows XP, Vista, Windows 7 and Windows 8 Mac OS 10.4 or later (Intel or PPC). Compatibility with the latest systems.There's also an "enharmonic" (split keys) fat keyboard and even a new lefthanded fretboard. Now you have the option of using a shorter keyboard with extra wide keys that are easy to see and play. Most activities don't require a full keyboard. If you're using Practica Musica in a school environment your class will have access to our online WebStudents system for storing progress reports or music assignments and communicating with your instructor. The included textbook helps you to progress on your own. ![]() The "composition" activity provides basic notation tools that are perfect for doing a school assignment: write a melody, a chorale, a duet - and you can hear it, print it, save it, even export it as a MIDI file. It can even perform sophisticated tasks for an advanced student: pointing out errors when writing a chorale in 4 parts, for example. Want to learn how to write melody by ear? Practica Musica can invent endless examples for you to practice with, and tell you when you get them right. This is what the computer is good for! Do you want to learn to hear the difference between different chords? Practica Musica will tell you when you're on the right track. As pointed out in the Introduction to this volume, the origin of the dialectical juxtaposition of theory with practice may be traced to Aristotle (see p. Today, the term “pedagogue” often carries with it negative connotations of pedantry and dogmatism, although in music, the term has perhaps a somewhat more benign association related to the teaching of basic skills. ![]() In ancient Greece, the pedagogue was the “leader” or “teacher” of boys (usually the slave assigned to transport the boys from one schoolmaster to another). The notions of “pedagogy” and “practice” have historically been closely linked, although they are by no means synonymous. But by focusing upon a few selected examples at historically significant moments, we hope to illustrate the principal parameters – structural, stylistic and institutional – which have together helped shape the discipline of “practical” music theory. Needless to say, this constitutes a vast quantity of writings that cannot be analyzed comprehensively here. We will then proceed to a broad survey of some of the major contributions to practical music instruction from the Middle Ages to the present day. We will begin first with a brief discussion of the difficulties in defining “practical” theory and assessing its relation to functions of music pedagogy. ![]() In the present chapter, we will attempt to look at some traditions of “practical” music theory in more detail. ![]() One of the most consequential developments in the long history of music theory has been its gradual integration with the discipline of musica practica, a discipline that until at least the eighteenth century was considered largely distinct from the rarefied concerns of classical musica theorica.
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