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Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint [Pehme köide]

(Associate Professor, University of Rochester), (Assistant Professor, Baylor University)
  • Formaat: Paperback / softback, 288 pages, kõrgus x laius x paksus: 272x213x15 mm, kaal: 680 g, 1,765 black and white music illustrations
  • Ilmumisaeg: 02-Apr-2009
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0195376994
  • ISBN-13: 9780195376999
Teised raamatud teemal:
  • Formaat: Paperback / softback, 288 pages, kõrgus x laius x paksus: 272x213x15 mm, kaal: 680 g, 1,765 black and white music illustrations
  • Ilmumisaeg: 02-Apr-2009
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0195376994
  • ISBN-13: 9780195376999
Teised raamatud teemal:
This Student Workbook accompanies Graduate Review of Tonal Theory. Authors Steven G. Laitz and Christopher Bartlette have devised sixty-one diverse exercise sets that correlate with material in the text. These assignments include writing and analytical exercises that enable students to further integrate harmony and counterpoint through visual and aural tasks. These exercises begin at the introductory level and progress incrementally in difficulty and complexity. There is also a separate section of keyboard activities at the end of the workbook.

Designed to accommodate graduate review courses of various lengths, the workbook's assignments are numbered discretely, leaving instructors free to adapt the workbook to best suit their courses. A DVD--packaged with the text--features recordings by students and faculty from the Eastman School of Music. Icons in the workbook indicate which examples are recorded and where to find them on the DVD; there is also a full track listing at the end of the textbook. The nearly four hours of excerpts and complete pieces on the DVD provide students and instructors with immediate access to hundreds of examples drawn from more than three centuries of music.

Arvustused

"The exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect that my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about such matters 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 ix
Musical Time and Space
1(16)
Rhythm, Meter, and Accent
1(4)
More Metrical Issues, Scales, and Key Signatures
5(4)
More Scales, Intervals
9(4)
More Intervals and Melody
13(4)
Harnessing Musical Time and Space
17(30)
Contrapuntal Motions and 1:1 Counterpoint
17(4)
1:1 and 2:1 Counterpoint
21(4)
2:1 Coounterpoint and Triads
25(4)
Triads and Figured Bass
29(4)
Figured Bass and Harmonic Analysis
33(4)
Seventh Chords
37(4)
Seventh Chords and Texture
41(6)
When Harmony, Melody, and Rhythm Converge
47(14)
Tones of Figuration and Harmonic Analysis
47(4)
Melodic Fluency
51(6)
Embellishment
57(4)
Composition and Analysis: Using I, V, and V7
61(12)
Writing and Analyzing I and V
61(4)
More Writing of Tonic and Dominant
65(4)
V7
69(4)
Contrapuntal Expansions of Tonic and Dominant
73(14)
Six-Three Chords
73(4)
More Six-Three Chords
77(2)
V7 and Vii°7
79(4)
More Seventh Chords
83(4)
The Pre-dominant, the Phrase Model, and Additional Embellishments
87(16)
The Pre-Dominant
87(4)
More Pre-Dominants
91(4)
Accented Tones of Figuration
95(4)
All Tones of Figuration
99(4)
Six-Four Chords, Nondominant Seventh Chords, and Refining the Phrase Model
103(14)
Six-Four Chords
103(4)
More Six-Four Chords and Nondominant Seventh Chords
107(4)
More Nondominant Seventh Chords
111(2)
Embedded Phrase Models
113(4)
The Submediant and Mediant Harmonies
117(12)
The Submediant
117(4)
Submediant and Mediant
121(4)
More Submediant and Mediant
125(2)
Paradigms and Composition
127(2)
The Period, the Double Period, and the Sentence
129(14)
Period and Sentence
129(4)
Analysis and Composition
133(4)
Period, Sentence, and Double Period
137(6)
Harmonic Sequences: Concepts and Patterns
143(16)
Triadic Sequences
143(4)
More Triadic Sequences
147(6)
Triadic and Seventh-Chord Sequences
153(6)
Applied Chords and Tonicization
159(14)
Spelling, Recognizing, and Writing Applied Chords
159(4)
Applied vii°7
163(4)
Harmonization and Applied Chord Sequences
167(2)
Extended Tonicization
169(4)
Modulation and Binary Form
173(14)
Closely Related Keys, Pivots, and Modulation
173(2)
Modulation
175(2)
Two-Voice Modulations, Modulation
177(2)
Modulation and Binary Form
179(4)
Binary Form
183(4)
Expressive Chromaticism: Modal Mixture and Chromatic Modulation
187(16)
Melodic and Harmonic Mixture
187(4)
Plagal Motions
191(4)
Chromatic Tonicization
195(4)
Prepared and Common-Tone Chromatic Modulations
199(4)
Two Important Chromatic Harmonies: The Neapolitan Chord and the Augmented Sixth Chord
203(24)
Identifying and Writing the Neapolitan Chord
203(4)
More Neapolitan
207(4)
Tonicization of the Neapolitan
211(4)
Augmented Sixth Chords
215(2)
More Augmented Sixth Chords
217(4)
More Writing of Augmented Sixth Chords and +6 in Modulation
221(6)
Ternary and Sonata Forms
227(18)
Analysis of Ternary Form
227(4)
Ternary and Binary Forms
231(8)
Sonata Form
239(6)
Keyboard Exercises
245
For
Chapter 1
245
For
Chapter 2
249
For
Chapter 4
255
For
Chapter 5
257
For
Chapter 6
259
For
Chapter 7
261
For
Chapter 8
263
For
Chapter 10
267
For
Chapter 11
269
For
Chapter 12
271
For
Chapter 13
273
For
Chapter 14
275
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.