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Music for Sight Singing (8th Edition), by Robert Ottman, Nancy Rogers
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For courses in Music Theory (a two-year sequence including sight singing and ear training) as well as separate Sight Singing courses.
Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the world’s folk music, Ottman provides the most engaging and comprehensive Sight Singing text on the market.
Over fifty years ago, Robert W. Ottman set out to write a book that draws examples from the literature as opposed to being composed by the author. He proposed that students should work with "real" music as they study musical forms. The result was Music for Sight Singing. Not only is real music more enjoyable and interesting to sing than dry examples, but genuine repertoire naturally introduces a host of important musical considerations beyond pitch and rhythm (including dynamics, accents, articulations, slurs, repeat signs, and tempo markings). Several generations of teachers have also agreed that Ottman's ability to order his examples from the simple to the complex is another key to the book's long term success. Nancy Rogers, the book's new author, has added new vitality to the book, introducing exercises to develop creativity as well as to build basic skills.
- Sales Rank: #60874 in Books
- Published on: 2010-01-13
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .70" w x 6.35" l, 1.15 pounds
- Binding: Spiral-bound
- 448 pages
From the Back Cover
Music for Sight Singing, 8/e is the best-selling book for Music Theory students. It features over 1700 examples, many drawn from “real music” that professors value and students enjoy singing. With the passing of author Robert Ottman, new author Nancy Rogers has added new vitality to the book, introducing exercises to develop creativity as well as to build basic skills.
About the Author
NANCY ROGERS is an Associate Professor of Music Theory at Florida State University. With research interests including music cognition and its pedagogical implications, Dr. Rogers has presented papers at national and international conferences, including meetings of the Society for Music Theory, the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Conference on Interdisciplinary Musicology. She was a keynote speaker at the 2009 Musical Ear conference held at Indiana University. Several recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy, and Em Pauta.
Professor Rogers received her Ph.D. in music theory from the Eastman School of Music; she is a Mellon Fellow in the Humanities. She has served as President of Music Theory Southeast, Secretary of the Society for Music Theory, and Treasurer of Music Theory Midwest. Before coming to Florida State University, she served on the faculties of Northwestern University, the University of Iowa, and Lawrence University.
Most helpful customer reviews
46 of 51 people found the following review helpful.
Money Maker
By C. Zerbe
While this is an excellent book for sight singing examples. It is probably the worst example I know where the publisher and author are really just interested in maximizing their profits. This book is on its 8th edition. It seems to get revised about every three years. They add a few number examples, switch the text around a little and call it a new edition. This edition is 99% the same as the 7th edition. But know, all the students have to go out and pay for a new book because because there is a "new" edition. I wish some professor would just say - hey we are going to use the 7th or 6th edition. There are plenty of used copies floating around out there. Most the the "song" numbers are identical. unless you have to have this edition, save yourself some money and buy an older edition.
40 of 44 people found the following review helpful.
An excellent resource for developing an essential musical skill
By Craig Matteson
Typically, music students resist their music theory courses and enjoy the sight singing exercises associated with them even less. My experience as a student and as a teacher leads me to believe that this is usually because by the time the students first get around to learning this skill, they are already confident musicians on their instruments or have learned to sing some other way. To have to learn a new skill from scratch is disturbing and seems unnecessary to them. However, learning to sight sing brings many benefits.
Singing music helps one internalize the music more fully. One also develops a greater confidence with pitch than having it done in an instrument. It also helps one learn to sing through one's instrument - that is, to play even more musically. And by developing strategies to sing chromatic music, one has to think through the relationships within the piece. Once the skills are more fully developed, one can learn to come to terms with a new piece of music quite quickly. Therefore, one becomes not only more professional, the whole of one's musical experience deepens.
We used the second edition of Ottman's book when I was an undergrad in music in the late seventies and early eighties. This seventh edition is a much richer and more useable book. There are more than a thousand melodies, all nicely arranged to teach something specific. They are actual melodies from the literature rather than some abstract theoretical nothing. And there are lots of rhythmic exercises, so the student can gain skills in becoming more precise in rhythm and especially in rests (you know, letting the silence be silent). A new chapter with melodies from the 20th century is also a nice addition. The new edition also adds some exercises with structured improvisation for the student to experiment with his or her own melodies.
The spiral binding actually makes the book more durable and useable. It lays flat on your piano or music stand and the spine won't break and the pages won't be falling out. The print is crisp and clear which makes reading easy. This is important for a book you will be using in your theory courses for several terms.
Not only is this great for college students, I think high school and private music teachers would do well by their students to use this as part of their regular music lessons. Their students might fight it a bit (they always seem to), but they will become better musicians and more musical students if they develop the skill to sight sing.
17 of 19 people found the following review helpful.
criminally astronomical price
By JAB
I had to buy this book for a music skills class. It serves its purpose quite well. However, the extremely high price is, in my view, completely unjust. This is a prime example of theft by the college textbook industry, and is indicative of a larger problem: the intrusion of market values into higher education. Instead of ensuring that students receive a worthwhile and useful education in their chosen fields, the priority appears to be the extraction of as much money as possible from a segment of the population that is already at an economic disadvantage. It's a tragedy that our society has failed to provide its young people with an opportunity to enter into professional life free of debt.
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