![]() Schmoll works as a composer and arranger, above all for children’s musicals and for choirs. At the same time, he led many choirs including the state choir of the North Rhein-Westfalia Choir Association. In the winter semester of 2001/02, he received a professorship in music theory and arrangement at the University for Music in Osnabruck. After working at music schools in Menden and Hemer (Sauerland), he became a lecturer at the University for Music in Dortmund, then acting director of the Osnabruck Conservatory until he was asked to become professor at the University for Music and Performing Arts in Mannheim at the age of 32. Volume 5: Listening to Two Parts and Cadencesīorn in 1958, Michael Schmoll studied piano, music theory and auditory education at the University for Music Detmold, Dortmund branch. In the section about absolute listening, your preparatory work will be used to acquire the skills needed for the cadences and multiple-part dictation exercises in volume 5, “Zweistimmiges und Kadenzen hören” (Hearing two parts and cadences). Volume 4 continues the third volume by expanding melodies with chords - the focus is “Akkorde hören” (Hearing chords), both relatively and absolutely. The third volume, “Melodisches und rhythmisches Hören” (Melodic and Rhythmic Listening), is about grasping the melody in its entirety through singing and metric training. The working units in this section are dictation in the octave, dictation in the range of two octaves, interval chains, which are intended to train so-called selective hearing, and dictation about two systems. The large, second part of this volume, “Punktdiktate” (Dictation), is supposed to prepare students for university exams. Following that, the exercises will be notated in bass clef. Afterwards, you will do without this pre-defined keynote and will begin instead from different notes. The book begins with exercises about tonal space, based around a particular keynote. The level of difficulty grows from chapter to chapter. ![]() In the second volume, entitled “Tonfolgen hören” (Hearing tone sequences), you will practice writing series of notes without the rhythm. This volume creates a basis for the next four. A prerequisite of this is accessible knowledge about chains of intervals which should be retrievable quickly. In the section about perfect or absolute pitch, relative recognition exercises will be expanded, whereby they become “absolutely” fixed. Volume 1 entitled “Intervalle hören relativ und absolut” (Hearing intervals, relative and absolute) starts with recognising individual intervals, working through them with a vocal technique. For the basis of his course he uses his five-volume series “AMA Schule der Gehörbildung”. Here, he leads the intensive course “Music Theory and Aural Training” twice a year as a preparation for studying music at university. In 1993 he founded his own private initiative, the “Musikakademie Dümmersee”, as a meeting place for choirs, ensembles and music courses. Michael Schmoll has been a professor in music theory and arrangement at the University for Music in Osnabrück since the winter semester of 2001/2002.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |