Ear Training for Twentieth-Century Music

by Michael L. Friedmann, Michael L. Friedman

How can the musician’s ear penetrate the complexities and theoretical abstractions of the twentieth-century music? This book offers a it enables the student to perceive essential musical connections at the core of modern music by identifying and drilling the distinctive structures and processes of the twentieth century’s greatest composers.   Michael L. Friedmann has developed and successfully tested a method that combines theory and exercises to give students a deeper understanding of modern music. Using musical examples from the works of Debussy, Bartók, Choenberg, and Stravinsky, Friedmann begins with extensive work in sight-singing and dictation.  The chapters that follow develop clear, multifaceted approaches to intervals and dyads, transposition and inversion, melodic contour, and three-and four-element set classes.  In these chapters Friedmann offers students opportunities not just to identify the twelve trichord and twenty-nine tetrachord types, but to explore their structural possibilities. He also demonstrates the relation of these set classes to the diatonic, whole-tone, and octatonic scales.  Finally, Friedmann introduces set classes of more than four elements, as well as twentieth-century modes. The book provides a wealth of musical excerpts including melodies composed by the author himself—to test analytic listening ability and to make the student with each set class.  
 

Genres: Music

238 pages, Paperback

First published August 29, 1990

Reviews

[Amari · Rating 4 out of 5]

A fantastic review. Likely difficult for anyone encountering this material for the first time. Demanding and at times somewhat unclear with respect to the exercises to be performed. Great ideas, rigorous way to hone your skills if they are already fully developed. Otherwise, probably best explored as a coursebook with guidance.

I feel that Friedmann's approach is lacking in one sense: rhythmic considerations are of primary importance in contemporary music, and he fails to devote any energy to this most fundamental of musical elements. I would like to see some analysis, exercises, etc. devoted to rhythmic development, or at the very least an acknowledgment that Friedmann's focus is on pitch, which is only a single piece of the puzzle.