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Hearing Form - Textbook and Anthology Pack: Musical Analysis With and Without the Score 2nd edition [Multiple-component retail product]

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(Texas Tech University, USA)
  • Formaat: Multiple-component retail product, 692 pages, kõrgus x laius: 280x210 mm, kaal: 1460 g, 550 Line drawings, black and white, Contains 2 paperbacks
  • Ilmumisaeg: 05-Aug-2016
  • Kirjastus: Routledge
  • ISBN-10: 1138900699
  • ISBN-13: 9781138900691
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Hearing Form - Textbook and Anthology Pack: Musical Analysis With and Without the Score 2nd editionSuurem pilt
  • Formaat: Multiple-component retail product, 692 pages, kõrgus x laius: 280x210 mm, kaal: 1460 g, 550 Line drawings, black and white, Contains 2 paperbacks
  • Ilmumisaeg: 05-Aug-2016
  • Kirjastus: Routledge
  • ISBN-10: 1138900699
  • ISBN-13: 9781138900691
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138900691.html
Märksõnad:
Hearing Form: Musical Analysis With and Without the Score 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 a workbook, its own full-score anthology, and a companion website containing an instructors manual, test bank, audio streaming of recordings for the pieces in the anthology, and downloadable sound files.

The second edition has been updated to include:











Additional score-based exercises





More music of the Romantic era and more vocal music





New scores included in the Anthology, with twice as many 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.

Please note: This set contains both the Hearing Form textbook and the accompanying anthology.
Preface ix
Chapter 1 Cadences and Phrases
1(24)
Cadences
1(3)
Some Tips on How to Identify Cadence Types When Listening Without the Score
4(1)
Progressive and Conclusive Cadences
5(1)
Motives and Phrases
6(2)
Some Tips on How to Identify Phrase Endings When Listening Without the Score
8(4)
In More Detail: Symmetrical Phrasing
8(4)
Sequences
12(2)
Some Tips on How to Identify Harmonic Sequences by Type When Listening Without the Score
14(2)
Cadential Extensions and Links
16(5)
In More Detail: Phrases and Cadences in Post-Tonal Music
20(1)
Self-Test 1
21(1)
Chapter Review
22(3)
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(2)
In More Detail: Periods Within Sentences
33(1)
Self-Test 2
33(1)
Chapter Review
34(3)
Chapter 3 One-Part, Binary, and Ternary Forms
37(20)
One-Part Forms
37(1)
Binary Forms
37(4)
Ternary Forms
41(2)
In More Detail: Hemiolas as Cadential Devices in the Baroque Period
42(1)
Composite Forms
43(1)
Marches and Rags
44(1)
AABA Song Form and 16+16-Bar Song Form
45(1)
Form in Pop and Rock
46(1)
Hearing Key Relationships
47(2)
Some Tips on How to Identify Modulations When Listening Without the Score
49(1)
Form in Vocal Music
49(4)
Self-Test 3
53(1)
Chapter Review
53(4)
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(2)
Sonata Form in Fast Movements and Slow Movements
68(1)
Some Tips on How to Identify the Parts of a Sonata Form When Listening Without the Score
68(1)
In More Detail: Deviations from the Sonata Form Model
69(1)
Sonata Forms Without Development Sections
69(2)
In More Detail: The Origins of Sonata Form
70(1)
Self-Test 4
71(1)
Chapter Review
72(3)
Chapter 5 Variation Forms
75(12)
Continuous Variations
75(1)
In More Detail: Overlapping Phrases
76(1)
Sectional Divisions in Continuous Variations
76(2)
Sectional Variations
78(3)
In More Detail: Phrase Rhythm and Hypermeter
80(1)
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)
Fugue
90(2)
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(2)
Self-Test 6
99(1)
Chapter Review
100(3)
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(1)
Concertos in the Romantic Period
109(6)
In More Detail: Metrical Dissonance
111(4)
Self-Test 7
115(1)
Chapter Review
115(2)
Chapter 8 Rondo Forms
117
Five-Part Rondos
117(1)
Rondos in More than Five Parts
118(1)
Sonata-Rondos
119(3)
Historical Trends in the Rondo
122(1)
Sonata-Rondos Without Development Sections
122(4)
In More Detail: Model-Defying Forms
123(3)
Self-Test 8
126(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(4)
Workbook for Hearing Form 153
Acknowledgments vii
Johann Sebastian Bach, Goldberg Variations, Aria
1(1)
Johann Sebastian Bach, Two-Part Inventions, No. 1 in C Major
2(1)
Johann Sebastian Bach, Two-Part Inventions, No. 13 in A Minor
3(1)
Johann Sebastian Bach, The Well-Tempered Clavier, Book I, Prelude in C Major
4(1)
Johann Sebastian Bach, The Well-Tempered Clavier, Book I, Fugue in F Major
5(2)
Johann Sebastian Bach, The Well-Tempered Clavier, Book I, Fugue in B Major
7(2)
Johann Sebastian Bach, The Well-Tempered Clavier, Book II, Fugue in E Minor
9(4)
Johann Sebastian Bach, Partita No. 3 for Solo Violin, Gavotte en Rondeau
13(2)
Johann Sebastian Bach, Orchestral Suite No. 2 in B minor, Badinerie
15(1)
Johann Sebastian Bach, Orchestral Suite No. 3 in D Major, Air
16(2)
Johann Sebastian Bach, Orchestral Suite No. 3 in D Major, Gavotte I
18(2)
Johann Sebastian Bach, Orchestral Suite No. 3 in D Major, Gavotte II
20(2)
Johann Sebastian Bach, Mass in B Minor, "Crucifixus"
22(4)
Ludwig van Beethoven, Piano Sonata in F Minor, Op. 2, No. 1, I
26(4)
Ludwig van Beethoven, Piano Sonata in C Minor, Op. 13, III
30(6)
Ludwig van Beethoven, Symphony No. 2 in D Major, IV
36(20)
Ludwig van Beethoven, Symphony No. 3 in E-Flat Major, I
56(33)
Ludwig van Beethoven, Symphony No. 5 in C Minor, I
89(16)
Ludwig van Beethoven, String Quartet in C-Sharp Minor, Op. 131, I
105(3)
Johannes Brahms, Variations on a Theme by Joseph Haydn, Op. 56a
108(38)
Johannes Brahms, Symphony No. 4 in E Minor, IV
146(31)
Johannes Brahms, Violin Concerto in D Major, Op. 77,1
177(34)
Frederic Chopin, Prelude in E Minor
211(1)
Claude Debussy, Preludes, Book I, No. 10, "La Cathedrale engloutie"
212(5)
George Frederic Handel, Giulio Cesare, I/5, "Non Disperar"
217(2)
George Frederic Handel, Giulio Cesare, I/6, "L'empio, sleale, indegno"
219(3)
English translations of the Handel arias
222(1)
George Frederic Handel, Messiah, Overture
223(4)
Franz Joseph Haydn, Piano Sonata in C Minor, Hob. XVI: 20, I
227(6)
Franz Joseph Haydn, Piano Sonata in D Major, Hob. XVI: 37, III
233(3)
Franz Joseph Haydn, Symphony No. 101 in D Major, IV
236(19)
Franz Joseph Haydn, Symphony No. 103 in E-Flat Major, I
255(18)
Paul Hindemith, Ludus Tonalis, Fugue No. 9 in B-Flat
273(4)
Scott Joplin, "Maple Leaf Rag"
277(3)
Franz Liszt, "Nuages Gris"
280(2)
Wolfgang Amadeus Mozart, Piano Sonata in A Major, K. 331, I
282(6)
Wolfgang Amadeus Mozart, Piano Sonata in B-Flat Major, K. 333, III
288(6)
Wolfgang Amadeus Mozart, Eine kleine Nachtmusik (all four movements)
294(12)
Wolfgang Amadeus Mozart, Symphony No. 35 in D Major, IV
306(15)
Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, I
321(18)
Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, III, Menuetto
339(2)
Wolfgang Amadeus Mozart, Piano Concerto in D Major, K. 107, I
341(9)
Wolfgang Amadeus Mozart, Piano Concerto in E-Flat Major, K. 271, I
350(29)
Henry Purcell, Dido and Aeneas, "When I am Laid in Earth"
379(3)
Alessandro Scarlatti, L'honesta negli amori, 1/10, "Gia il sole dal Gange"
382(2)
Franz Schubert, "Heidenroslein"
384(1)
Franz Schubert, Mignon, D. 321, "Kennst du das Land?"
385(4)
English translations of the Schubert Lieder
389(1)
Robert Schumann, Carnival, Op. 9, "Eusebius"
390(1)
Robert Schumann, Novelletten, Op. 21, No. 7
391(3)
Richard Strauss, Op. 27, No. 4, "Morgen"
394(2)
English translations of the Strauss and Wolf Lieder
396(1)
Giuseppe Verdi, La Traviata, 1/6, "E strano ... Ah fors'e lui ... Sempre libera"
397(9)
English translation of "E strano Ah fors'e lui ... Sempre libera"
406(1)
Antonio Vivaldi, 77?e Four Seasons, Concerto No. 2 ("Summer"), I
407(13)
Antonio Vivaldi, The Four Seasons, Concerto No. 4 ("Winter"), I
420(10)
Hugo Wolf, "Verborgenheit"
430
Matthew Santa is Professor of Music Theory and chair of the Music Theory and Composition Area at the Texas Tech University School of Music.