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Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint [Kõva köide]

3.63/5 (60 hinnangut Goodreads-ist)

Chris Barlette (Assistant Professor of Music Theory, Baylor University, Waco, TX, USA, Author), Steven G Laitz (Associate Professor and Chair of Music Theory, Eastman School of Music, University of Rochester, Rochester, NY USA, Author)

Formaat: Hardback, 288 pages, kõrgus x laius x paksus: 203x251x20 mm, kaal: 748 g, 12 black and white line illustrations, music examples
Ilmumisaeg: 02-Apr-2009
Kirjastus: Oxford University Press Inc
ISBN-10: 0195376986
ISBN-13: 9780195376982

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Theory of music & musicology - (Hetkel poes: 2 nimetust)

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Formaat: Hardback, 288 pages, kõrgus x laius x paksus: 203x251x20 mm, kaal: 748 g, 12 black and white line illustrations, music examples
Ilmumisaeg: 02-Apr-2009
Kirjastus: Oxford University Press Inc
ISBN-10: 0195376986
ISBN-13: 9780195376982

Teised raamatud teemal:

Theory of music & musicology - (Hetkel poes: 2 nimetust)

Püsilink: https://www.kriso.ee/db/9780195376982.html

Märksõnad:

Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces.

Distinctive Features

*Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis
*Synthesizes the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum
*Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook

Also Available:
A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8). This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.

Arvustused

"I would point to the extremely solid conceptual grounding; the musical utility of the long-range thinking it encourages; the logical progression of topics; the clarity and efficiency of presentation; the quality of analytical insight; and the possibility of having everything you need in one place. The workbook provides a very impressive range of tasks-much more varied and interesting than one usually finds. One gets the sense that the author[ s] understand exactly the nature of graduate review courses." -Roman Ivanovitch, Indiana University

"[ The workbook] exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about matters such as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting."-Neil Minturn, University of Missouri

Preface

Setting the Stage

(9)

PART 1 CONTEXTUALIZING THEORY AND ANALYSIS: FUNDAMENTALS

Musical Time and Space

(15)

The Metrical Realm

(5)

Accent in Music

(3)

Metrical Disturbance

(1)

The Pitch Realm

(10)

Pitches and Pitch Classes

(2)

Scales

(2)

Keys

(1)

Intervals

(2)

Consonance and Dissonance

(1)

Melody: Characteristics and Writing

(2)

Harnessing Musical Time and Space

(14)

Species Counterpoint

(1)

First-Species (1:1) Counterpoint

(2)

Contrapuntal Motions

(2)

Rules and Guidelines for First-Species Counterpoint

(1)

Second-Species (2:1) Counterpoint

(2)

Rules and Guidelines for Second-Species Counterpoint

(1)

Adding Voices: Triads and Seventh Chords

(6)

Triads

(1)

Figured Bass

(3)

Triads and the Scale: Harmonic Analysis

(1)

Seventh Chords

(1)

Musical Texture

(3)

When Harmony, Melody, and Rhythm Converge

(6)

Tonal Hierarchy in Music

(2)

Tones of Figuration

(1)

Melodic Fluency

(4)

PART 2 DIATONIC HARMONY: FUNCTIONS, EXPANSIONS, AND THE PHRASE MODEL

Composition and Analysis: Using I, V, and V7

(13)

Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading

(5)

The Cadence

(1)

Introduction to Voice Leading

(1)

Texture and Register

(1)

Spacing

(1)

Summary of Voice-Leading Rules and Guidelines

(2)

The Dominant Seventh and Chordal Dissonance

(2)

Part Writing with the Dominant Seventh Chord

(1)

Analytical Extension: The Interaction of Harmony, Melody, Meter, and Rhythm

(6)

Embellishment

(2)

Reduction

(1)

Second-Level Analysis

(3)

Contrapuntal Expansions of Tonic and Dominant

(15)

Contrapuntal Expansions with First-Inversion Triads

(6)

Chordal Leaps in the Bass: I6 and V6

(2)

Neighboring Tones in the Bass: V6

(1)

Structural and Subordinate Harmonies

(1)

Passing Tones in the Bass: vii°6 and IV6

(2)

Tonic Expansion with Arpeggiating Bass: IV6

(1)

Contrapuntal Expansions with Seventh Chords

(5)

V7 and Its Inversions

(3)

Voice-Leading Inversions of V7

(1)

Leading Tone Seventh Chords: vii°7

(2)

Analytical Extension: Invertible Counterpoint

(4)

Invertible Counterpoint Below the Music's Surface

(3)

The Pre-Dominant, the Phrase Model, and Additional Embellishments

(15)

The Pre-Dominant Function

(5)

The Subdominant (IV in Major, iv in Minor)

(1)

The Supertonic (ii in Major, ii° in Minor)

(2)

Part Writing Pre-Dominants

(1)

Extending the Pre-Dominant

(1)

Introduction to the Phrase Model

(2)

Accented and Chromatic Dissonances

(6)

Accented Passing Tone (p>/p)

(1)

Chromatic Passing Tone

(1)

Accented Neighbor Tone (>/N)

(1)

Chromatic Neighbor Tone

(1)

Appoggiatura (APP)

(1)

Suspension (S)

(2)

Anticipation (ANT)

(1)

Pedal (PED)

(1)

Analytical Extension: Revisiting the Subdominant

(2)

Contrapuntal Expansion with IV

(1)

Plagal Cadence

(1)

PART 3 ELABORATING THE PHRASE MODEL AND COMBINING PHRASES

Six-Four Chords, Nondominant Seventh Chords, and Refining the Phrase Model

(14)

Six-Four Chords

(6)

Unaccented Six-Four Chords

(4)

Accented Six-Four Chords

(1)

Writing Six-Four Chords

(1)

Summary of Contrapuntal Expansions

(2)

Nondominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5)

(2)

Part Writing Nondominant Seventh Chords

(1)

Embedding the Phrase Model

(2)

Analytical Extension: Expanding the Pre-Dominant

100

(2)

The Submediant and Mediant Harmonies

102

(12)

The Submediant (vi in Major, VI in Minor)

102

(5)

The Submediant as Bridge in the Descending-Thirds Progression

102

(1)

The Submediant in the Descending Circle-of-Fifths Progression

103

(1)

The Submediant as Tonic Substitute in the Ascending-Seconds Progression

104

(2)

The Submediant as the Pre-Dominant

106

(1)

Voice Leading for the Submediant

106

(1)

The Step Descent in the Bass

107

(1)

Mediant (iii in Major, III in Minor)

108

(3)

A Special Case: Preparing the III Chord in Minor

110

(1)

Voice Leading for the Mediant

111

(1)

General Summary of Harmonic Progression

111

(1)

Analytical Extension: The Back-Relating Dominant

111

(3)

The Period, the Double Period, and the Sentence

114

(12)

The Period

114

(6)

Types of Periods

115

(3)

Period Labels

118

(2)

The Double Period

120

(1)

The Sentence

121

(1)

Analytical Extension: Modified Periods

122

(4)

Harmonic Sequences: Concepts and Patterns

126

(11)

Components and Types of Sequences

127

(4)

The Descending-Fifths Sequence (-5/+4)

128

(1)

The Pachelbel, or Descending 5--6, Sequence (-4/+2)

129

(1)

The Ascending-Fifths Sequence (+5/-4)

130

(1)

The Ascending 5--6 Sequence (-3/+4)

130

(1)

Sequences with Diatonic Seventh Chords

131

(1)

Writing Sequences

132

(1)

Analytical Extension: Melodic Sequences and Compound Melody

133

(4)

PART 4 CHROMATICISM AND LARGER FORMS

Applied Chords and Tonicization

137

(11)

Applied Dominant Chords

138

(3)

Applied Chords in Inversion

139

(1)

Voice Leading for Applied Dominant Chords

139

(2)

Applied Leading-Tone Chords

141

(1)

Extended Tonicization

141

(3)

Analytical Extension: Sequences with Applied Chords

144

(4)

The (-5/+4) Sequence

144

(1)

The (-4/+2) Sequence

145

(2)

The (-3/+4) Sequence

147

(1)

Modulation and Binary Form

148

(15)

Modulation

148

(8)

Closely Related Keys

149

(1)

Analyzing Modulations

149

(1)

Writing Modulations

150

(1)

Modulation in the Larger Musical Context

151

(2)

The Sequence as a Tool in Modulation

153

(3)

Binary Form

156

(4)

Balanced Binary Form

159

(1)

Summary of Binary Form Types

159

(1)

Analytical Extension: Binary Form in Baroque Dance Suites

160

(3)

Expressive Chromaticism: Modal Mixture and Chromatic Modulation

163

(20)

Modal Mixture

163

(7)

Altered Pre-Dominant Harmonies: iv and ii°

165

(1)

Altered Submediant Harmony: IV

166

(1)

Altered Tonic Harmony: i

167

(1)

Altered Mediant Harmony: III

168

(1)

Voice Leading for Mixture Harmonies

169

(1)

Plagal Motions

170

(1)

Modal Mixture, Applied Chords, and Other Chromatic Harmonies

171

(1)

Expansion of Modal Mixture Harmonies: Chromatic Modulation

172

(4)

Chromatic Pivot-Chord Modulations

172

(2)

Writing Chromatic Pivot-Chord Modulations

174

(1)

Unprepared and Common-Tone Chromatic Modulations

174

(2)

Analytical Extension: Modal Mixture and Text-Music Relations

176

(7)

Analytical Payoff: The Dramatic Role of VI

182

(1)

Two Important Chromatic Harmonies: The Neapolitan Chord and the Augmented Sixth Chord

183

(14)

The Neapolitan Chord

183

(3)

Writing the Neapolitan Chord

185

(1)

Other Uses for the Neapolitan Chord

185

(1)

The Augmented Sixth Chord

186

(6)

Types of Augmented Sixth Chords

187

(1)

Writing Augmented Sixth Chords

188

(1)

VI and the Ger6/5 chord

189

(1)

The Augmented Sixth Chord as a Pivot Chord

190

(2)

Analytical Extension: Prolongation with II and +6 Chords

192

(5)

Augmented Sixth Chords as Part of PD Expansions

194

(3)

Ternary and Sonata Forms

197

(28)

Ternary Form

197

(11)

Transitions and Retransitions

203

(2)

Da Capo Form: Compound Ternary Form

205

(1)

Minuet-Trio Form

206

(2)

Sonata Form

208

(6)

The Binary Model for Sonata Form

209

(3)

Transition

212

(1)

Closing Section

213

(1)

Development and Retransition

213

(1)

Recapitulation and Coda

214

(1)

Analytical Extension: Motivic Expansion

214

(11)

Exposition

222

(1)

Development

223

(2)

Appendix A Additional Formal Procedures

225

(29)

Subphrases and Composite Phrases

225

(3)

Variation Techniques

228

(12)

Continuous Variations

228

(6)

Sectional Variations

234

(6)

Ternary Form and the Nineteenth-Century Character Piece

240

(4)

Rondo

244

(7)

The Classical Rondo

244

(1)

Five-Part Rondo

245

(5)

Coda, Transitions, and Retransitions

250

(1)

Compound Rondo Form

250

(1)

Seven-Part Rondo

250

(1)

Further Characteristics of Sonata Form

251

(3)

Monothematic Sonata Form

251

(1)

The Slow Introduction

252

(1)

Other Tonal Strategies

253

(1)

Appendix B Glossary of Abbreviations

254

(2)

Appendix C Terminological Equivalents

256

(3)

Appendix D Listing of DVD Text and Workbook Examples

259

(4)

Index of Terms and Concepts

263

Steve Laitz is Associate Professor and currently chairs the Theory Department and Eastman's new Bachelor of Musical Arts major. He also serves as an Affiliate Faculty Member in Eastman's Chamber Music Department and on the piano faculty at the Chautauqua Institution. He has received various teaching awards, including Eastman's Eisenhart Award for Distinguished Undergraduate Teaching By a Faculty Member. He is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition.

Chris Bartlette is Assistant Professor of Music Theory at Baylor University. He has published articles in the journal Music Perception and presented papers at Society for Music Theory and Society for Music Perception and Cognition national conferences.

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