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E-raamat: Hearing Form: Musical Analysis With and Without the Score

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(Texas Tech University, USA)
  • Formaat: 250 pages
  • Ilmumisaeg: 30-Dec-2022
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781000643602
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Hearing Form: Musical Analysis With and Without the ScoreSuurem pilt
  • Formaat: 250 pages
  • Ilmumisaeg: 30-Dec-2022
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781000643602
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Hearing Form: Musical Analysis With and Without the Score, Third Edition is a complete course package for undergraduate courses on musical forms, with comprehensive coverage from the Baroque to the Romantic. Placing emphasis on listening, it teaches students to analyze music both with and without the use of a score, covering phrase endings and cadences, harmonic sequence types, modulations, formal sections, and musical forms.

Hearing Form is supported by an integrated workbook section, its own full-score anthology, and a companion website containing an instructors manual, test bank, and audio streaming and downloads of recordings for the pieces in the anthology.

Key updates in the third edition include:





Treatment of phrases and cadences now allows the book to be used by both instructors who teach that all phrases end with cadences and those who teach that some phrases do not New pieces added to the anthology widen the range of composers represented

With an engaging and practical approach informed by recent scholarship, Hearing Form enables students to recognize musical elements both by sight and by ear.

This is the Hearing Form textbook only. For the Hearing Form anthology, see ISBN 978-0-367-70388-2. For the textbook and anthology package, see ISBN 978-0-367-70391-2.
List of Examples
ix
Preface xi
Acknowledgments xvii
Chapter 1 Phrases and Cadences
1(24)
Motives and Phrases
1(2)
Some Tips on How to Identify Phrase Endings When Listening Without the Score
3(2)
Cadences
5(3)
Some Tips on How to Identify Cadence Types When Listening Without the Score
8(1)
Progressive and Conclusive Cadences
8(1)
A More Restrictive Approach to Defining Cadences
9(1)
Phrase Diagrams
10(3)
Sequences
13(2)
Some Tips on How to Identify Harmonic Sequences by Type When Listening Without the Score
15(2)
Cadential Extensions and Links
17(5)
Self-Test 1
22(1)
Chapter Review
23(2)
Chapter 2 Phrase Organization
25(12)
Periods and Phrase Groups
25(3)
Three-Phrase Periods and Repetition Within a Period
28(1)
Sentences
29(2)
Hybrids
31(1)
Some Tips on How to Identify Phrase Organization Patterns When Listening Without the Score
31(3)
Self-Test 2
34(1)
Chapter Review
35(2)
Chapter 3 One-Part, Binary, and Ternary Forms
37(20)
Form Versus Genre
37(1)
One-Part Forms
38(1)
Binary Forms
38(4)
Ternary Forms
42(2)
Composite Forms
44(1)
Marches and Rags
45
AABA Song Form and
16(30)
+ 16-Bar Song Form
46(1)
Form in Pop and Rock
47(1)
Hearing Key Relationships
48(1)
Some Tips on How to Identify Modulations When You Hear Them Without the Score
49(1)
Form in Vocal Music
50(3)
Self-Test 3
53(1)
Chapter Review
54(3)
Chapter 4 Sonata Forms
57(18)
The Three Parts of Sonata Forms
57(1)
Tonal Structure and Thematic Organization
58(1)
The Exposition
59(1)
The Development
60(1)
The Recapitulation
61(1)
Introductions and Codas
62(1)
Sonata Form in Review
63(1)
Sonata Form Expositions in More than Four Parts
64(2)
The Four-Movement Model
66(1)
Sonata Forms in Fast Movements and Slow Movements
67(1)
Some Tips on How to Identify the Parts of a Sonata Form When Listening Without the Score
68(1)
Sonata Forms Without Development Sections
69(1)
Sonata Forms with a Fused Development/Recapitulation
70(2)
Self-Test 4
72(1)
Chapter Review
73(2)
Chapter 5 Variation Forms
75(12)
Continuous Variations
75(1)
Sectional Divisions in Continuous Variations
76(2)
Sectional Variations
78(3)
Double Variations and Free Variations
81(1)
The Blues
81(1)
Form in Jazz
82(2)
Self-Test 5
84(1)
Chapter Review
85(2)
Chapter 6 Imitative Forms
87(16)
Canon
87(1)
Invention
88(1)
Development in Imitative Forms
89(1)
Some Tips on Analyzing Harmonic Progressions in Polyphonic Music
90(1)
Fugue
91(1)
Subjects, Answers, and Countersubjects in a Fugue
92(2)
Hearing Fugues
94(1)
Difficulties in Analyzing Fugues
95(1)
Fugato
96(1)
Double Fugues, Triple Fugues, and Non-Episodic Fugues
97(3)
Self-Test 6
100(1)
Chapter Review
101(2)
Chapter 7 Concerto Forms
103(14)
Ritornello Form
103(2)
Types of Concertos and Concerto Movements
105(1)
Imitation in Baroque Concerto Movements
105(1)
Classical Concerto Form
106(2)
The Cadenza
108(2)
Concertos in the Romantic Period
110(5)
Self-Test 7
115(1)
Chapter Review
115(2)
Chapter 8 Rondo Forms
117(12)
Five-Part Rondos
117(1)
Rondos in More Than Five Parts
118(1)
Sonata-Rondos
119(2)
Historical Trends in the Rondo
121(1)
Sonata-Rondos Without Development Sections
122(3)
Self-Test 8
125(1)
Chapter Review
126(3)
Appendix I Formal Models 129(4)
Appendix II Making a Phrase Diagram 133(2)
Appendix III Reading a Transposing Score 135(4)
Appendix IV Answers to Self-Tests 139(4)
Bibliography 143(6)
Index 149(2)
Workbook for Hearing Form 151
Matthew Santa is Professor and Chair of Music Theory at the Texas Tech University School of Music.
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