The Archaeology and History of Glastonbury Abbey: Essays in Honour of the Ninetieth Birthday of C. The Boydell Press,
Paperback pages 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. Eskelin's amusing and instructive dissertation does that, and much more. Students of all levels could certainly learn something from this material but it would also interest music educators and even music theorists.
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. Jazz Choir, which he founded in He lives in Woodland Hills, California.
Most helpful customer reviews 32 of 32 people found the following review helpful. Kelley Apparently this book is a lot more controversial than I thought, judging from the profusion of Amazon reviews, both positive and negative, some showing rampant misunderstandings of music theory worse than Eskelin's!
Yes, there is a little problem with Eskelin's tone in the book. Eskelin talks down to his audience, spends too much time trying to justify himself through his credentials and ego-puffing anecdotes, and tries unsuccessfully to use simple English and simple concepts to explain music theory--the result being occasionally almost incomprehensible prose and sometimes bad grammar.
No, the "revelations" in the book are not so revolutionary or controversial that the book deserves its title. And yes, he sometimes mixes up 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.
And yet some of the alternatives to traditional ways of presenting musical fundamentals that Eskelin discusses in the book are still quite worthwhile.
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 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 signatureand even sometimes a general tempo range for the piece.
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!
There is one important error in Eskelin's book that I must point out in this forum. And yes, there are just ratios for dissonant intervals too, because dissonant intervals are formed as a result of the combination of consonant intervals.Even a brief browsing of Joseph Williams's STYLE: LESSONS IN CLARITY AND GRACE, ninth edition, would persuade most readers that it makes the much touted Strunk & White's "The Elements of Style" look, well, elementary.
The Elements of Style (paperback). You know the authors' names. You recognize the title. You've probably used this book yourself. And now The Elements of Style--the most widely read and employed English style manual--is available in a specially bound 50th Anniversary Edition that offers the title's vast audience an opportunity to own a more durable and elegantly bound edition of this.
is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her. This Pin was discovered by Anastazja. Discover (and save!) your own Pins on Pinterest. Byzantine music is the music of the Byzantine Empire.
Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during . "On the Order of Elements in Scottish Gaelic Clause Structure and Some Related Linguistic Problems." In Proceedings of the First North American Congress of Celtic Studies held at Ottawa from 26thth March, , pp.