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Hearing Form - Textbook and Anthology Pack: Musical Analysis With and Without the Score [Multiple-component retail product]

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(Texas Tech University, USA)
  • Formaat: Multiple-component retail product, 624 pages, kõrgus x laius: 279x216 mm, kaal: 1474 g, Following Sarath Music Theory Through Improvisation; 105 Line drawings, black and white, Contains 2 paperbacks
  • Ilmumisaeg: 11-Feb-2010
  • Kirjastus: Routledge
  • ISBN-10: 0415872634
  • ISBN-13: 9780415872638
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  • Multiple-component retail product
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Hearing Form - Textbook and Anthology Pack: Musical Analysis With and Without the ScoreSuurem pilt
  • Formaat: Multiple-component retail product, 624 pages, kõrgus x laius: 279x216 mm, kaal: 1474 g, Following Sarath Music Theory Through Improvisation; 105 Line drawings, black and white, Contains 2 paperbacks
  • Ilmumisaeg: 11-Feb-2010
  • Kirjastus: Routledge
  • ISBN-10: 0415872634
  • ISBN-13: 9780415872638
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780415872638.html
Märksõnad:
Hearing Form is a textbook/workbook for upper-level undergraduate college courses on the analysis of musical form. It reviews concepts such as score reading, instrumental transposition, cadences, phrase structure, harmonic sequences, and modulation while at the same time introducing a style of phrase diagramming and an approach to hearing without the score that is used consistently throughout the book. The goal of this book is to teach students to:



















Identify phrase endings and cadence types in music with or without a score













Identify harmonic sequence types in music with or without a score













Identify modulations in music with or without a score













Identify formal sections in music with or without a score













Identify musical forms with or without a score

















The companion website provides recordings for selected pieces in the anthology.
Acknowledgements vii
Goldberg Variations, Aria
1(1)
J. S. Bach
Two-Part Inventions, No. 1 in C Major
2(1)
J. S. Bach
Two-Part Inventions, No. 13 in A Minor
3(1)
J. S. Bach
The Well-Tempered Clavier, Book I, Prelude in C Major
4(1)
J. S. Bach
The Well-Tempered Clavier, Book I, Fugue in F Major
5(2)
J. S. Bach
The Well-Tempered Clavier, Book I, Fugue in B Major
7(2)
J. S. Bach
The Well-Tempered Clavier, Book II, Fugue in E Minor
9(4)
J. S. Bach
Orchestral Suite No. 2 in B Minor, Badinerie
13(1)
J. S. Bach
Orchestral Suite No. 3 in D Major, Air
14(2)
J. S. Bach
Orchestral Suite No. 3 in D Major, Gavotte I
16(2)
J. S. Bach
Orchestral Suite No. 3 in D Major, Gavotte II
18(2)
J. S. Bach
Mass in B Minor, ``Crucifixus''
20(4)
J. S. Bach
Brandenburg Concerto No. 1, I
24(10)
J. S. Bach
Beethoven, Piano Sonata F Minor, Op. 2, No. 1, I
34(4)
Beethoven, Piano Sonata in C Minor, Op. 13, III
38(6)
Beethoven, Symphony No. 2 in D Major, IV
44(20)
Beethoven, Symphony No. 3 in E-flat Major, I
64(33)
Beethoven, Symphony No. 5 in C Minor, I
97(16)
Beethoven, String Quartet in C-Sharp Minor, Op. 131, I
113(3)
Brahms, Variations on a Theme
116(38)
Joseph Haydn
Brahms, Symphony No. 4 in E Minor, IV
154(31)
Brahms, Concerto for Violin in D Major, Op. 77, I
185(34)
Chopin, Prelude in E Minor
219(1)
Handel, Giulio Cesare, I/5, ``Non Disperar; chi sa?''
220(2)
Handel, Giulio Cesare, I/6, ``L'empio, sleale, indegno''
222(4)
Handel, Messiah, Part I, Overture
226(4)
Haydn, Piano Sonata in C minor, Hob. XVI: 20, I
230(6)
Haydn, Piano Sonata in D Major, Hob. XVI: 37, III
236(3)
Haydn, Symphony No. 101 in D Major, IV
239(19)
Haydn, Symphony No. 103 in E-flat Major, I
258(18)
Mozart, Piano Sonata in A Major, K. 331, I
276(6)
Mozart, Piano Sonata in B-Flat Major, K. 333, III
282(6)
Mozart, Fine kleine Nachtmusik (all four movements)
288(12)
Mozart, Symphony No. 35 in D Major, IV
300(15)
Mozart, Symphony No. 40 in G Minor, I
315(18)
Mozart, Symphony No. 40 in G Minor, III, Menuetto
333(2)
Mozart, Piano Concerto in D Major, K. 107, I
335(9)
Mozart, Piano Concerto in E-flat Major, K. 271, I
344(29)
Purcell, Dido and Anaeas, ``When I Am Laid in Earth''
373(3)
Vivaldi, The Four Seasons, Concerto No. 2 (``Summer''), I
376(13)
Vivaldi, The Four Seasons, Concerto No. 4 (``Winter''), I
389
Preface xi
Cadences and Phrases
1(20)
Cadences
1(3)
How to Identify Cadence Types When Listening Without the Score
4(2)
In More Detail: Progressive and Conclusive Cadences
5(1)
Motives and Phrases
6(5)
In More Detail: Symmetrical Phrasing
7(4)
Sequences
11(2)
How to Identify Harmonic Sequences When Listening Without the Score
13(2)
Cadential Extensions and Links
15(4)
Chapter Review
19(2)
Phrase Organization
21(10)
Periods and Phrase Groups
21(3)
Three-Phrase Periods and Repetition Within a Period
24(1)
Sentences
25(4)
In More Detail: Periods Within Sentences
28(1)
Chapter Review
29(2)
One-Part, Binary, and Ternary Forms
31(18)
One-Part Forms
31(1)
Binary Forms
31(4)
Ternary Forms
35(2)
In More Detail: Hemiolas as Cadential Devices in the Baroque Period
36(1)
Composite Forms
37(1)
Marches and Rags
38(1)
The 32-Bar Song Form
39(1)
Form in Pop and Rock
40(1)
Hearing Key Relationships
41(1)
How to Identify Modulations When Listening Without the Score
42(1)
Form in Vocal Music
43(3)
Chapter Review
46(3)
Sonata Forms
49(14)
The Three Parts of Sonata Forms
49(1)
Tonal Structure and Thematic Organization
50(1)
The Exposition
51(1)
The Development
52(1)
The Recapitulation
53(1)
Introductions and Codas
54(1)
Sonata Form in Review
55(2)
In More Detail: The Origins of Sonata Form
56(1)
The Four-Movement Model
57(1)
Sonata Form in Fast Movements and Slow Movements
58(1)
How to Identify the Parts of a Sonata Form When Listening Without the Score
58(2)
In More Detail: Deviations from the Sonata Form Model
59(1)
Sonata Forms Without Development Sections
60(1)
Chapter Review
61(2)
Variation Forms
63(10)
Continuous Variations
63(1)
In More Detail: Overlapping Phrases
64(1)
Sectional Divisions in Continuous Variations
64(2)
Sectional Variations
66(3)
In More Detail: Phrase Rhythm and Hypermeter
67(2)
The Blues
69(1)
Form in Jazz
69(2)
Chapter Review
71(2)
Imitative Forms
73(14)
Canon
73(1)
Invention
74(1)
Development in Imitative Forms
75(1)
Fugue
76(2)
Subjects, Answers, and Countersubjects in a Fugue
78(1)
Hearing Fugues
79(1)
Difficulties in Analyzing Fugues
80(2)
Fugato
82(2)
Chapter Review
84(3)
Concerto Forms
87(14)
Ritornello Form
87(2)
Types of Concertos and Concerto Movements
89(1)
Imitation in Baroque Concerto Movements
90(1)
Classical Concerto Form
90(3)
The Cadenza
93(1)
Concertos in the Romantic Period
94(5)
In More Detail: Metrical Dissonance
95(4)
Chapter Review
99(2)
Rondo Forms
101(10)
Five-Part Rondos
101(1)
Rondos in More Than Five Parts
102(1)
Sonata-Rondos
103(2)
Historical Trends in the Rondo
105(1)
Concerto-Rondos
105(4)
In More Detail: Model-Defying Forms
107(2)
Chapter Review
109(2)
Appendix I Formal Models 111(3)
Appendix II Making a Phrase Diagram 114(2)
Appendix III Reading a Transposing Score 116(3)
Appendix IV Notes on the Audio Examples 119(4)
Bibliography 123(6)
Index 129(4)
Workbook for Hearing Form 133
Matthew Santa is an Associate Professor of Music Theory at Texas Tech University. He has presented papers on music theory and analysis throughout the United States as well as abroad, and his articles have been published in the journals Theory and Practice, Music Theory Spectrum, Music Analysis, and The Annual Review of Jazz Studies.