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According to Frazier, score reading is an important skill for those interested in the conducting profession and "Conductors such as the late Robert Shaw and Yoel Levi have incredibly strong piano skills and can read at sight full orchestral scores at the piano" (a process which requires the pianist to make an instant piano reduction of the key ...
As a process, ear training is in essence the inverse of reading music, which is the ability to decipher a musical piece by reading musical notation. Ear training is typically a component of formal musical training and is a fundamental, essential skill required in music schools and the mastery of music.
Modern piano lessons tend to emphasize learning notation, and may neglect developing the creative spirit and sensitive ears which lead to expressive music-making. Studies point to the need for using multiple approaches in learning musical skills which engage both sides of the brain—the analytical and the intuitive—for students to master all ...
Soixante-cinq études-déchiffrages pour cor (1967) [Sixty-five sight-reading exercises for horn] Vingt études pour cor (1969) [Twenty studies for horn] Cent exercices rythmiques à 2 et 3 parties pour tous les instruments en clé de sol (en deux cahiers) (1975) [One hundred rhythmic exercises in 2 and 3 parts for all G-clef instruments – in ...
The Standard Course of Lessons on the Tonic Sol-fa Method of Teaching to Sing was published in 1858. In 1872, Curwen changed his former course of using the Sol-fa system as an aid to sight reading, when that edition of his Standard Course of Lessons excluded the staff and relied solely on Tonic Sol-fa. In 1879 the Tonic Sol-Fa College was opened.
Another critical difference between reading music and reading language is the role of skill. Most people become reasonably efficient at language reading by adulthood, even though almost all language reading is sight reading. [3] By contrast, some musicians regard themselves as poor sight readers of music even after years of study.
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