Who invented do re me

The south was far more resilent in preserving their ways. But even here the long arm of this movement was felt, and thus the seven shaped note system was born. With the exception of the editors of a handful of books Southern shaped note tune compilers largerly accepted the belief that the seven syllable "one for each note" solmization was superior to the old fashioned fasola approach.

Chief among those leading the charge to this trough was "singing Billy Walker" compiler of the four shape Southern Harmony with his Christian Harmony. Although a variety of seven shape notations were invented, the emerging standard was created by Jesse Aiken. During the era of late 19th century and the first few decades of the 20th century legions of seven shaped small books were published in southern book mills.

When early European settlers and their descendants spread through the early American frontier written music and fine instruments were a scarce, rare luxury. In order to increase musical literacy and make money two early American publications appeared that featured music using shape note heads, The Easy Instructor and The Musical Primer Shape Notes proved popular and soon a wide variety of hymnbooks were produced making use of them. However, in the South, and especially in Appalachia, Shape Notes became entrenched and multiplied into a variety of traditions, called upon to supply entertainment, socialization, and most notably, religious worship.

One early conduit for Shape Note singing, the Singing School, was originally a vibrant social institution in Great Britain. It took hold in colonial America and soon traveling singing-school masters would set up in communities for three and four week periods, teaching both secular and sacred music to citizens anxious for a diversion.

When the better-music movement swept the North, Singing Schools faded there, but they soon found a welcoming, permanent home in the South. In this region, the combination of the English singing school, early Shape Notes, and an oral, Celtic, folk-tune heritage joined an awakened religious fervor to produce the musical associations now identified with Appalachia and an independent, agrarian, sustenance way of life. It was also an opportunity for young folks to meet members of the opposite sex.

Even today, many older southerners associate these gatherings with their courting days. It is no surprise that as time passed, the Shape Note system these singings followed became firmly entrenched in the hearts and traditional practices of the isolated communities of the Appalachian region.

More often than not, the Shape Note system was used with traditional and folk hymns. In fact, traditional arrangements of Christian hymns like Amazing Grace were soon replaced by Shape Note compositions — usually eliminating any musical accompaniment. Shape Note and Sacred Harp performances stressed glory and heavenly rewards. Soon, dozens of religious songbooks appeared and publishers sent polished quartets out to perform Sacred Harp — and to sell books.

Conversational Solfege — This curriculum is perfect and sequential for elementary and early middle school students. Sing at First Sight — This is for choirs, but it works for instrumental groups as well. Solfege…A Comprehensive Course — This book is meant for adults or older teens. Essentially, this means each of the 12 pitches at least for traditional Western music , are given a letter based on the frequency of the pitch.

This is most often associated with the staff. Where the notes sit on the staff depends on something called the clef. Read more about ABC notation.

Now that you know a little more about what the two systems are, we can compare the two. Each system has its uses in developing a well-rounded musician. The main benefit of solfege is how it develops aural skills. Speaking from personal experience, I was never really able to look at a piece of music and instantly sing it.

In American music education at elementary, secondary, and tertiary levels a variety of systems are found. The goals and purposes for which the system is used seem to determine the selection of a solmization system. Paper: 1st national Spanish. Congress of High Musical Education. Bennett, P. Sarah Glover: A forgotten pioneer in music education.

International Journal of Music. Education, 1 , Bowers, K. Shaping and Sharing Techniques for Sight-Singing. The Phenomenon of Singing, 1 , Glover, S. Boethius PressLtd. Gordon, E. Learning sequences in music: Skill, content, and patterns: A music learning theory. Mason, L. Manual of the Boston Academy of Music: for instruction in the elements of.

Martin, L. Solmization: Getting the facts straight.