_____________ My thoughts have been preoccupied with an important question for a significant period, and I now find myself with ample time to carefully contemplate it and commit it to writing. It has come to my attention that there is a perspective advocating for the use of an ‘original sheet music’—or more precisely, scores initially published by their respective publishers—in music theory textbooks and practice workbooks, particularly those that pose examination-style questions or contain entrance mock tests. Proponents of this approach argue that it highlights the authenticity of musical notations and showcases the artistry of music score editing, rather than depending on reproductions that have been re-edited by the textbook publisher. This assumption and statement (purportedly allowing readers to view the original version of the score) are both somewhat perplexing. Firstly, we will examine the musical examples employed in most classical music theory analyses throughout this articl
114學年大學音樂術科視唱題組已經公告，考生記得開始下載練習。 昨天在 我的音樂班臉書社團 預告提醒時，留言區有位老師提到一個問題：「 考生有時『不太注重視唱』」。這個潛在關鍵是考生認為它的佔比分數很低，但事實上好好訓練，對器樂幫助還是很大。 仔細思考，視唱題組中有很多東西可以處理： 考生如何掌握臨時升降記號 升降音符左右旋律輪廓，樂曲的上下起伏如何展現 演奏樂器要呼吸，歌唱一樣 題組只有單旋律，但調性題目還是隱藏著和聲概念建立和聲想法時，歌唱還是可以有走向 ⋯⋯等等 請點我下載視唱題組 上述這些都與樂器息息相關、甚至想法雷同。考生可以按照上面一些準則好好練習，即便練習不完我個人覺得也不需有過大壓力，因為「掌握原則」，任何題目都可以迎刃而解。 延伸閱讀 ： 視唱專區！一起開口唱高分！ （定期開放模擬題目） 音樂班樂理、聽寫歷屆考古題專區 113學年視唱題組歷屆題組