Musical dictation |
from lat. dicto – dictate, repeat
Recording melodies by ear, as well as small two-, three- and four-part musical constructions; one of the methods for developing musical ear in solfeggio classes. Usually D. m. is performed on the piano, monophonic D. m. is sometimes sung by a teacher or played on bowed instruments. On the value of D. m. for the development of music. hearing one of the first indicated X. G. Negeli; in the subsequent time, the development of the method of D. m. paid attention to X. Riemann and other prominent foreign muses. theorists and educators. In Russia, D. m. entered the pedagogical. practice in the 60s. 19th century About his important role in music. education was written by N. A. Rimsky-Korsakov (“Musical Articles and Notes”, 1911). Since the modal method of development of muses is recognized as the most rational. hearing, in the process of D. m., it is usually used to preliminarily, listening and understanding the elements of harmony, rhythm, harmony, voice leading and the form of the dictated example, followed by recording what was heard; this technique is opposed to the previously practiced interval (mechanical) method of recording D. m. Occasionally, music is used as D. m. excerpts performed by instr. ensemble or orchestra; when recording such samples, the student must identify and designate the instruments by ear, record not only the music, but also its instrumentation. Possession of the skills of D. m. helps the composer to record the melodies and music that arise in his mind. Topics.
References: Ladukhin N. M., A thousand examples of musical dictation, M., (b. g.), last. ed., M., 1964; Ostrovsky A. L., Pavlyuchenko S. A., Shokin V. P., Musical dictation, M.-L., 1941; Ostrovsky A. L., Essays on the methodology of music theory and solfeggio, L., 1954, p. 265-86; Agazhanov A.P., Two-part dictations, M., 1947, 1962; his own, Four-part dictations, M., 1961; Vakhromeev V. A., Questions of methods of teaching solfeggio in children’s music school, M., 1963, M., 1966; Muller T., Three-voice dictations, M., 1967; Alekseev B. and Blum Dm., Systematic course of musical dictation, M., 1969; Nägei HG, Vollständige und ausführliche Gesangschule, Bd 1, Z., 1; Lavignac AJA, Cours complet théorique et pratique de dictée musicale, P.-Brux., 1810; Riemann H., Katechismus des Musikdiktats, Lpz., 1882, 1889; Battke M., Neue Formen des Musikdiktats, B., 1904; Gédailge A., L’enseignement de la musique par l’éducation méthodique de l’oreille, v. 1913-1, P., 1-2; Dickey fr. M. and French E., Melody writing and ear training, Boston, 1921; Reuter Fr., Zur Methodik der Gehörübungen und des Musikdiktats, Lpz., 23; Martens H., Musikdiktat, in the series: Beiträge zur Schulmusik, H. 1926, Lahr (Baden), 1927, Wolfenbüttel, 1; Waldmann G., 1930 Diktate zur Musiklehre, B., 1958; Willems E., L’oreille musicale, t. 1080, Gen., 1931; Grabner H., Neue Gehörbung, B., 1; Schenk P., Schule der musikalischen Gehörbildung, H. 1940-1950, Trossingen, 1; his own, Schule des musikalischen Hörens, I, Lpz.-V., 8; Jersild J., Lehrbuch der Gehörbildung. Rhythmus, Kph., 1951.
V. A. Vakhromeev
