{"id":1012,"date":"2023-06-02T16:06:09","date_gmt":"2023-06-02T16:06:09","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=1012"},"modified":"2026-03-30T18:50:13","modified_gmt":"2026-03-30T18:50:13","slug":"index-of-exercises","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/index-of-exercises\/","title":{"raw":"Index of exercises","rendered":"Index of exercises"},"content":{"raw":"Access a single downloadble .pdf of all exercises here: Multimodal_Musicianship_Exercises<\/a>.\r\n

Chapter 1 Pitch notation<\/h1>\r\nEx1.1 Pitch identification<\/a>\r\n\r\nEx1.2 Pitch notation<\/a>\r\n

Chapter 2 Simple meters<\/h1>\r\nEx2.1 Metric organization<\/a>\r\n\r\nEx2.2 Beaming and barring measures<\/a>\r\n\r\nEx2.3 Practicing rhythmic dictation<\/a>\r\n

Chapter 3 Major scales<\/h1>\r\nEx3.1 Major scales in context<\/a>\r\n

Chapter 4 Major key signatures<\/h1>\r\nEx4.1 Major scales and key signatures<\/a>\r\n

Chapter 5 Intervals<\/h1>\r\nEx5.1 Drills with major and minor intervals<\/a>\r\n\r\nEx5.2 Analysis with Judith Cloud Six Forays mvt 2<\/a><\/a>\r\n

Chapter 6 Minor scales and key signatures<\/h1>\r\nEx6.1 Minor scales in context<\/a>\r\n

Chapter 7 Compound meters<\/h1>\r\nEx7.1 Aural meter ID<\/a>\r\n\r\nEx7.2 Metric organization<\/a>\r\n\r\nEx7.3 Beaming<\/a>\r\n\r\nEx7.4 Barring measures<\/a>\r\n\r\nEx7.5 Time signatures<\/a>\r\n

Chapter 8 Modes and other scales<\/h1>\r\nEx8.1 Lydian in context<\/a>\r\n\r\nEx8.2 Mixolydian in context<\/a>\r\n\r\nEx8.3 Phrygian in context<\/a>\r\n\r\nEx8.4 Dorian in context<\/a>\r\n\r\nEx8.5 Whole tone scales in context<\/a>\r\n\r\nEx8.6 Pentatonic scales in context<\/a>\r\n\r\nEx8.7 Modes and scales<\/a>\r\n

Chapter 9 Triads<\/h1>\r\nEx9.1 Analysis with triads<\/a>\r\n\r\nEx9.2 Triads in context<\/a>\r\n

Chapter 10 Seventh chords<\/h1>\r\nEx10.1 Seventh chords in context<\/a>\r\n\r\nEx10.2 Analysis with triads and sevenths<\/a>\r\n\r\nEx10.3 Drills with triads and sevenths<\/a>\r\n

Chapter 11 Lead sheet symbols<\/h1>\r\nEx11.1 Chord symbols in Shenandoah<\/a>\r\n\r\nEx11.2 Lead sheet chord symbols identification<\/a>\r\n\r\nEx11.3 Lead sheet realization<\/a>\r\n\r\nEx11.4 Transcription with triads in pop music<\/a>\r\n

Chapter 12 Figured bass<\/h1>\r\nEx12.1 Figured bass identification<\/a>\r\n\r\nEx12.2 Figured bass chord construction<\/a>\r\n

Chapter 13 Texture<\/h1>\r\nEx13.1 Analysis with figured bass<\/a>\r\n

Chapter 14 Roman numerals<\/h1>\r\nEx14.1 Roman numeral identification<\/a>\r\n\r\nEx14.2 Roman numeral chord construction<\/a>\r\n

Chapter 15 Nashville numbers<\/h1>\r\nEx15.1 Creating a Nashville number chart<\/a>\r\n

Chapter 16 Harmonic function and cadences<\/h1>\r\nEx16.1 Harmonic function in context<\/a>\r\n\r\nEx16.2 Analysis with I, IV, and V(7)<\/a>\r\n\r\nEx16.3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/a>\r\n

Chapter 17 Melody<\/h1>\r\nEx17.1 Writing a melody<\/a>\r\n

Chapter 18 Sequence and uses of the mediant<\/h1>\r\nEx18.1 Analysis with sequence<\/a>\r\n\r\nEx18.2 Creating melodic sequences<\/a>\r\n\r\nEx18.3 Composing a melody with sequence<\/a>\r\n

Chapter 19 Phrases and periods<\/h1>\r\nEx19.1 Analysis with phrases and periods<\/a>\r\n\r\nEx19.2 Compose a parallel period<\/a>\r\n\r\nEx19.3 Analysis of Amy Beach Gavotte<\/a>\r\n

Chapter 20 Melody harmonization<\/h1>\r\nEx21.1 Counterpoint analysis<\/a>\r\n

Chapter 21 Two-part counterpoint<\/h1>\r\nEx21.1 Counterpoint analysis<\/a>\r\n\r\nEx21.2 Writing two-part counterpoint<\/a>\r\n

Chapter 22 Harmony in pop and rock<\/h1>\r\nEx22.1 Aural harmony in pop and rock ID<\/a>\r\n

Chapter 23 Text setting<\/h1>\r\nEx23.1 Crash course in text setting<\/a>\r\n

Chapter 24 Chord motion and voicing<\/h1>\r\nEx24.1 Chord motion and voicing<\/a>\r\n

Chapter 25 SATB part writing<\/h1>\r\nEx25.1 Chord connections following model 1<\/a>\r\n\r\nEx25.2 Chord connections following model 2<\/a>\r\n\r\nEx25.3 Chord connections following model 3<\/a>\r\n\r\nEx25.4 Preliminary part writing<\/a>\r\n\r\nEx25.5 Part writing with I, IV, and V<\/a>\r\n\r\nEx25.6 Error detection<\/a>\r\n\r\nEx25.7 Part writing with V7<\/a>\r\n\r\nEx25.8 Part writing with first inversion chords<\/a>\r\n

Chapter 26 Chords in second inversion<\/h1>\r\nEx26.1 Analysis with chords in all inversions<\/a>\r\n\r\nEx26.2 Part writing with chords in all inversions<\/a>\r\n

Chapter 27 Composing out progressions<\/h1>\r\nEx27.1 Composing out a progression<\/a>\r\n

Chapter 28 Instrument transpositions and ranges<\/h1>\r\nEx28.1 Analysis of Barbers First Symphony<\/a>\r\n\r\nEx28.2 Writing for transposing instruments<\/a>\r\n\r\nEx28.3 Analysis with transposing instruments in Hailstork's Done Made My Vow<\/a>\r\n

Chapter 29 Non-chord tones<\/h1>\r\nEx29.1 Identifying non-chord tones<\/a>\r\n\r\nEx29.2 Analysis with non-chord tones<\/a>\r\n\r\nEx29.3 Adding non-chord tones<\/a>\r\n

Chapter 30 Composite meters<\/h1>\r\nEx30.1 Identifying composite meters aurally<\/a>\r\n

Chapter 31 Secondary dominants<\/h1>\r\nEx31.1 Spelling secondary dominants<\/a>\r\n\r\nEx31.2 Analysis with secondary dominants<\/a>\r\n\r\nEx31.3 Part writing with secondary dominants<\/a>\r\n\r\nEx31.4 Error detection with secondary dominants part writing<\/a>\r\n

Chapter 32 Secondary diminished chords<\/h1>\r\nEx32.1 Spelling secondary chords<\/a>\r\n\r\nEx32.2 Analysis with secondary chords<\/a>\r\n

Chapter 33 Modulation to closely related keys<\/h1>\r\nEx33.1 Finding closely related keys<\/a>\r\n\r\nEx33.2 Analysis with modulation<\/a>\r\n\r\nEx33.3 Key relations<\/a>\r\n

Chapter 34 Binary form<\/h1>\r\nEx34.1 Binary form analysis<\/a>\r\n\r\nEx34.2 Contextual listening with form<\/a>\r\n

Chapter 35 Ternary form<\/h1>\r\nEx35.1 Form analysis Haydn Minuet and Trio<\/a>\r\n

Chapter 36 Strophic form<\/h1>\r\nEx36.1 Analysis with strophic form<\/a>\r\n

Chapter 37 Form in pop and rock<\/h1>\r\nEx37.1 Aural analysis with form in pop<\/a>\r\n

Chapter 38 Chromatic mediants<\/h1>\r\nEx38.1 Chromatic mediants in context<\/a>\r\n\r\nEx38.2 Chromatic mediant relations<\/a>\r\n\r\nEx38.3 Part writing with chromatic mediant<\/a>\r\n\r\nEx38.4 Key relations<\/a>\r\n

Chapter 39 Modulation by common tone<\/h1>\r\nEx39.1 Analysis with chromatic mediants<\/a>\r\n\r\nEx39.2 Modulating dictations<\/a>\r\n

Chapter 40 Mode mixture<\/h1>\r\nEx40.1 Chord spelling<\/a>\r\n\r\nEx40.2 Analysis with borrowed chords<\/a>\r\n

Chapter 41 Neapolitan sixth<\/h1>\r\nEx41.1 Mini analysis with N6<\/a>\r\n\r\nEx41.2 Spelling N6 chords<\/a>\r\n\r\nEx41.3 Analysis with N6<\/a>\r\n\r\nEx41.4 Part writing with N6<\/a>\r\n\r\nEx41.5 Melodic dictation with flat 2<\/a>\r\n\r\nEx41.6 Contextual listening with the Neapolitan sixth<\/a>\r\n\r\nEx41.7 Contextual listening with Radiohead A Wolf at the Door<\/a>\r\n

Chapter 42 Augmented sixth chords<\/h1>\r\nEx42.1 Spelling +6 chords<\/a>\r\n\r\nEx42.2 Analysis with augmented sixth chords<\/a>\r\n\r\nEx42.3 Contextual listening with augmented sixth chords<\/a>\r\n\r\nEx42.4 Aural ID of predominant chords<\/a>\r\n\r\nEx42.5 Harmonic dictation with chromatic predominant chords<\/a>\r\n\r\nEx42.6 Contextual listening and transcription with +6<\/a>\r\n\r\nEx42.7 Voice leading with +6<\/a>\r\n\r\nEx42.8 Analysis with N6 and +6 chords<\/a>\r\n

Chapter 43 Descending tetrachord bass line<\/h1>\r\nEx43.1 Analysis with descending tetrachord bass line<\/a>\r\n\r\nEx43.2 Harmonic dictation with descending tetrachord bass line<\/a>\r\n

Chapter 44 Enharmonic reinterpretation of V7 and Ger.+6<\/h1>\r\nEx44.1 Chord spelling and reinterpretation (for screen reader)<\/a>\r\n\r\nEx44.1 Chord spelling and reinterpretation (printer-friendly)<\/a>\r\n\r\nEx44.2 Analysis with enharmonic reinterpretation<\/a>\r\n\r\nEx44.3 Harmonic dictation with enharmonic reinterpretation<\/a>\r\n

Chapter 45 Enharmonic reinterpretation of viio7<\/h1>\r\nEx45.1 Chord spelling and reinterpretation (for screen reader)<\/a>\r\n\r\nEx45.1 Chord spelling and reinterpretation (printer-friendly)<\/a>\r\n\r\nEx45.2\u00a0Analysis with enharmonic interpretation<\/a>\r\n

Chapter 46 The \"flatting\" process<\/h1>\r\nEx46.1 Lower the _____<\/a>\r\n

Chapter 47 Extended tertian chords and altered dominants<\/h1>\r\nEx47.1 Spelling dominant ninths and thirteenths (for screen reader)<\/a>\r\n\r\nEx47.1 Spelling dominant ninths and thirteenths (printer-friendly)<\/a>\r\n\r\nEx47.2 Spelling extended tertian chords<\/a>\r\n\r\nEx47.3 Spelling altered dominants<\/a>\r\n\r\nEx47.4 Chord spelling (for screen reader)<\/a>\r\n\r\nEx47.4 Chord spelling (printer-friendly)<\/a>\r\n\r\nEx47.5 Analysis with extended tertian and altered dominant chords<\/a>\r\n

Chapter 48 Common-tone diminished seventh (CTo7)<\/h1>\r\nEx48.1 Analysis with CTo7<\/a>\r\n\r\nEx48.2 Part writing with CTo7<\/a>\r\n

Chapter 49 Sonata form<\/h1>\r\nEx49.1 Analysis with sonata form<\/a>","rendered":"

Access a single downloadble .pdf of all exercises here: Multimodal_Musicianship_Exercises<\/a>.<\/p>\n

Chapter 1 Pitch notation<\/h1>\n

Ex1.1 Pitch identification<\/a><\/p>\n

Ex1.2 Pitch notation<\/a><\/p>\n

Chapter 2 Simple meters<\/h1>\n

Ex2.1 Metric organization<\/a><\/p>\n

Ex2.2 Beaming and barring measures<\/a><\/p>\n

Ex2.3 Practicing rhythmic dictation<\/a><\/p>\n

Chapter 3 Major scales<\/h1>\n

Ex3.1 Major scales in context<\/a><\/p>\n

Chapter 4 Major key signatures<\/h1>\n

Ex4.1 Major scales and key signatures<\/a><\/p>\n

Chapter 5 Intervals<\/h1>\n

Ex5.1 Drills with major and minor intervals<\/a><\/p>\n

Ex5.2 Analysis with Judith Cloud Six Forays mvt 2<\/a><\/a><\/p>\n

Chapter 6 Minor scales and key signatures<\/h1>\n

Ex6.1 Minor scales in context<\/a><\/p>\n

Chapter 7 Compound meters<\/h1>\n

Ex7.1 Aural meter ID<\/a><\/p>\n

Ex7.2 Metric organization<\/a><\/p>\n

Ex7.3 Beaming<\/a><\/p>\n

Ex7.4 Barring measures<\/a><\/p>\n

Ex7.5 Time signatures<\/a><\/p>\n

Chapter 8 Modes and other scales<\/h1>\n

Ex8.1 Lydian in context<\/a><\/p>\n

Ex8.2 Mixolydian in context<\/a><\/p>\n

Ex8.3 Phrygian in context<\/a><\/p>\n

Ex8.4 Dorian in context<\/a><\/p>\n

Ex8.5 Whole tone scales in context<\/a><\/p>\n

Ex8.6 Pentatonic scales in context<\/a><\/p>\n

Ex8.7 Modes and scales<\/a><\/p>\n

Chapter 9 Triads<\/h1>\n

Ex9.1 Analysis with triads<\/a><\/p>\n

Ex9.2 Triads in context<\/a><\/p>\n

Chapter 10 Seventh chords<\/h1>\n

Ex10.1 Seventh chords in context<\/a><\/p>\n

Ex10.2 Analysis with triads and sevenths<\/a><\/p>\n

Ex10.3 Drills with triads and sevenths<\/a><\/p>\n

Chapter 11 Lead sheet symbols<\/h1>\n

Ex11.1 Chord symbols in Shenandoah<\/a><\/p>\n

Ex11.2 Lead sheet chord symbols identification<\/a><\/p>\n

Ex11.3 Lead sheet realization<\/a><\/p>\n

Ex11.4 Transcription with triads in pop music<\/a><\/p>\n

Chapter 12 Figured bass<\/h1>\n

Ex12.1 Figured bass identification<\/a><\/p>\n

Ex12.2 Figured bass chord construction<\/a><\/p>\n

Chapter 13 Texture<\/h1>\n

Ex13.1 Analysis with figured bass<\/a><\/p>\n

Chapter 14 Roman numerals<\/h1>\n

Ex14.1 Roman numeral identification<\/a><\/p>\n

Ex14.2 Roman numeral chord construction<\/a><\/p>\n

Chapter 15 Nashville numbers<\/h1>\n

Ex15.1 Creating a Nashville number chart<\/a><\/p>\n

Chapter 16 Harmonic function and cadences<\/h1>\n

Ex16.1 Harmonic function in context<\/a><\/p>\n

Ex16.2 Analysis with I, IV, and V(7)<\/a><\/p>\n

Ex16.3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/a><\/p>\n

Chapter 17 Melody<\/h1>\n

Ex17.1 Writing a melody<\/a><\/p>\n

Chapter 18 Sequence and uses of the mediant<\/h1>\n

Ex18.1 Analysis with sequence<\/a><\/p>\n

Ex18.2 Creating melodic sequences<\/a><\/p>\n

Ex18.3 Composing a melody with sequence<\/a><\/p>\n

Chapter 19 Phrases and periods<\/h1>\n

Ex19.1 Analysis with phrases and periods<\/a><\/p>\n

Ex19.2 Compose a parallel period<\/a><\/p>\n

Ex19.3 Analysis of Amy Beach Gavotte<\/a><\/p>\n

Chapter 20 Melody harmonization<\/h1>\n

Ex21.1 Counterpoint analysis<\/a><\/p>\n

Chapter 21 Two-part counterpoint<\/h1>\n

Ex21.1 Counterpoint analysis<\/a><\/p>\n

Ex21.2 Writing two-part counterpoint<\/a><\/p>\n

Chapter 22 Harmony in pop and rock<\/h1>\n

Ex22.1 Aural harmony in pop and rock ID<\/a><\/p>\n

Chapter 23 Text setting<\/h1>\n

Ex23.1 Crash course in text setting<\/a><\/p>\n

Chapter 24 Chord motion and voicing<\/h1>\n

Ex24.1 Chord motion and voicing<\/a><\/p>\n

Chapter 25 SATB part writing<\/h1>\n

Ex25.1 Chord connections following model 1<\/a><\/p>\n

Ex25.2 Chord connections following model 2<\/a><\/p>\n

Ex25.3 Chord connections following model 3<\/a><\/p>\n

Ex25.4 Preliminary part writing<\/a><\/p>\n

Ex25.5 Part writing with I, IV, and V<\/a><\/p>\n

Ex25.6 Error detection<\/a><\/p>\n

Ex25.7 Part writing with V7<\/a><\/p>\n

Ex25.8 Part writing with first inversion chords<\/a><\/p>\n

Chapter 26 Chords in second inversion<\/h1>\n

Ex26.1 Analysis with chords in all inversions<\/a><\/p>\n

Ex26.2 Part writing with chords in all inversions<\/a><\/p>\n

Chapter 27 Composing out progressions<\/h1>\n

Ex27.1 Composing out a progression<\/a><\/p>\n

Chapter 28 Instrument transpositions and ranges<\/h1>\n

Ex28.1 Analysis of Barbers First Symphony<\/a><\/p>\n

Ex28.2 Writing for transposing instruments<\/a><\/p>\n

Ex28.3 Analysis with transposing instruments in Hailstork’s Done Made My Vow<\/a><\/p>\n

Chapter 29 Non-chord tones<\/h1>\n

Ex29.1 Identifying non-chord tones<\/a><\/p>\n

Ex29.2 Analysis with non-chord tones<\/a><\/p>\n

Ex29.3 Adding non-chord tones<\/a><\/p>\n

Chapter 30 Composite meters<\/h1>\n

Ex30.1 Identifying composite meters aurally<\/a><\/p>\n

Chapter 31 Secondary dominants<\/h1>\n

Ex31.1 Spelling secondary dominants<\/a><\/p>\n

Ex31.2 Analysis with secondary dominants<\/a><\/p>\n

Ex31.3 Part writing with secondary dominants<\/a><\/p>\n

Ex31.4 Error detection with secondary dominants part writing<\/a><\/p>\n

Chapter 32 Secondary diminished chords<\/h1>\n

Ex32.1 Spelling secondary chords<\/a><\/p>\n

Ex32.2 Analysis with secondary chords<\/a><\/p>\n

Chapter 33 Modulation to closely related keys<\/h1>\n

Ex33.1 Finding closely related keys<\/a><\/p>\n

Ex33.2 Analysis with modulation<\/a><\/p>\n

Ex33.3 Key relations<\/a><\/p>\n

Chapter 34 Binary form<\/h1>\n

Ex34.1 Binary form analysis<\/a><\/p>\n

Ex34.2 Contextual listening with form<\/a><\/p>\n

Chapter 35 Ternary form<\/h1>\n

Ex35.1 Form analysis Haydn Minuet and Trio<\/a><\/p>\n

Chapter 36 Strophic form<\/h1>\n

Ex36.1 Analysis with strophic form<\/a><\/p>\n

Chapter 37 Form in pop and rock<\/h1>\n

Ex37.1 Aural analysis with form in pop<\/a><\/p>\n

Chapter 38 Chromatic mediants<\/h1>\n

Ex38.1 Chromatic mediants in context<\/a><\/p>\n

Ex38.2 Chromatic mediant relations<\/a><\/p>\n

Ex38.3 Part writing with chromatic mediant<\/a><\/p>\n

Ex38.4 Key relations<\/a><\/p>\n

Chapter 39 Modulation by common tone<\/h1>\n

Ex39.1 Analysis with chromatic mediants<\/a><\/p>\n

Ex39.2 Modulating dictations<\/a><\/p>\n

Chapter 40 Mode mixture<\/h1>\n

Ex40.1 Chord spelling<\/a><\/p>\n

Ex40.2 Analysis with borrowed chords<\/a><\/p>\n

Chapter 41 Neapolitan sixth<\/h1>\n

Ex41.1 Mini analysis with N6<\/a><\/p>\n

Ex41.2 Spelling N6 chords<\/a><\/p>\n

Ex41.3 Analysis with N6<\/a><\/p>\n

Ex41.4 Part writing with N6<\/a><\/p>\n

Ex41.5 Melodic dictation with flat 2<\/a><\/p>\n

Ex41.6 Contextual listening with the Neapolitan sixth<\/a><\/p>\n

Ex41.7 Contextual listening with Radiohead A Wolf at the Door<\/a><\/p>\n

Chapter 42 Augmented sixth chords<\/h1>\n

Ex42.1 Spelling +6 chords<\/a><\/p>\n

Ex42.2 Analysis with augmented sixth chords<\/a><\/p>\n

Ex42.3 Contextual listening with augmented sixth chords<\/a><\/p>\n

Ex42.4 Aural ID of predominant chords<\/a><\/p>\n

Ex42.5 Harmonic dictation with chromatic predominant chords<\/a><\/p>\n

Ex42.6 Contextual listening and transcription with +6<\/a><\/p>\n

Ex42.7 Voice leading with +6<\/a><\/p>\n

Ex42.8 Analysis with N6 and +6 chords<\/a><\/p>\n

Chapter 43 Descending tetrachord bass line<\/h1>\n

Ex43.1 Analysis with descending tetrachord bass line<\/a><\/p>\n

Ex43.2 Harmonic dictation with descending tetrachord bass line<\/a><\/p>\n

Chapter 44 Enharmonic reinterpretation of V7 and Ger.+6<\/h1>\n

Ex44.1 Chord spelling and reinterpretation (for screen reader)<\/a><\/p>\n

Ex44.1 Chord spelling and reinterpretation (printer-friendly)<\/a><\/p>\n

Ex44.2 Analysis with enharmonic reinterpretation<\/a><\/p>\n

Ex44.3 Harmonic dictation with enharmonic reinterpretation<\/a><\/p>\n

Chapter 45 Enharmonic reinterpretation of viio7<\/h1>\n

Ex45.1 Chord spelling and reinterpretation (for screen reader)<\/a><\/p>\n

Ex45.1 Chord spelling and reinterpretation (printer-friendly)<\/a><\/p>\n

Ex45.2\u00a0Analysis with enharmonic interpretation<\/a><\/p>\n

Chapter 46 The “flatting” process<\/h1>\n

Ex46.1 Lower the _____<\/a><\/p>\n

Chapter 47 Extended tertian chords and altered dominants<\/h1>\n

Ex47.1 Spelling dominant ninths and thirteenths (for screen reader)<\/a><\/p>\n

Ex47.1 Spelling dominant ninths and thirteenths (printer-friendly)<\/a><\/p>\n

Ex47.2 Spelling extended tertian chords<\/a><\/p>\n

Ex47.3 Spelling altered dominants<\/a><\/p>\n

Ex47.4 Chord spelling (for screen reader)<\/a><\/p>\n

Ex47.4 Chord spelling (printer-friendly)<\/a><\/p>\n

Ex47.5 Analysis with extended tertian and altered dominant chords<\/a><\/p>\n

Chapter 48 Common-tone diminished seventh (CTo7)<\/h1>\n

Ex48.1 Analysis with CTo7<\/a><\/p>\n

Ex48.2 Part writing with CTo7<\/a><\/p>\n

Chapter 49 Sonata form<\/h1>\n

Ex49.1 Analysis with sonata form<\/a><\/p>\n","protected":false},"author":3,"menu_order":6,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"back-matter-type":[39],"contributor":[],"license":[],"class_list":["post-1012","back-matter","type-back-matter","status-publish","hentry","back-matter-type-index"],"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/1012","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/back-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":150,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/1012\/revisions"}],"predecessor-version":[{"id":7212,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/1012\/revisions\/7212"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/1012\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=1012"}],"wp:term":[{"taxonomy":"back-matter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter-type?post=1012"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=1012"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=1012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}