PREFACE Education in America is sadly deficient in the fundamentals. Seventy-five years ago even the general public realized the great value of a discriminating musical ear to a musician. Since that time the ever increasing prevalence of keyboard instruments seems to have caused even the musical profession to lose sight of the value of a good ear. Such has not been the case on the continent of Europe. In all well-ordered schools of music, even those students who are gifted with a high sense of pitch, are subjected to a long, exacting course in sight-singing and musical dictation. Up to the present time even the material for a thorough course in musical dictation which is adapted to American needs has been lacking. A lifetime of service in connection with the Szlfeggio and Public Schooj Music departments of the New England Conservatory of Music has emphasized the need of such material, which the following pages will supply. This book is based on the monumental work of similar title by Professor Albert Lavignac of the Paris Conservatory of Music, to whom credit is hereby given. Boston, August 2, 1920. Preface Introduction Rhythm Pitch with repeated note Pitch and Rhythm Pitch without repeated note Three-parr Rhythm Pitch repeated note resumed Pitch and Three-part Rhythm Four-part Rhythm Pitch without repeated note Pitch and Rhythm varied Kests Pitch, Rhythm and Rests The Unevenly Divided Pulsation Four Equal and Three Unequal Sounds to she Pulsation Chromatic Tones Six-part Measure MisceIlaneous Dictations Dictations from the Great Cornposers…
