Muutke küpsiste eelistusi

Theory Essentials for Today's Musician (Textbook) [Kõva köide]

(University of Akron, USA),
  • Formaat: Hardback, 400 pages, kõrgus x laius: 254x203 mm, kaal: 1160 g
  • Ilmumisaeg: 22-Dec-2017
  • Kirjastus: Routledge
  • ISBN-10: 113870881X
  • ISBN-13: 9781138708815
Teised raamatud teemal:
  • Formaat: Hardback, 400 pages, kõrgus x laius: 254x203 mm, kaal: 1160 g
  • Ilmumisaeg: 22-Dec-2017
  • Kirjastus: Routledge
  • ISBN-10: 113870881X
  • ISBN-13: 9781138708815
Teised raamatud teemal:
Theory Essentials for Today’s Musician offers a review of music theory that speaks directly and engagingly to modern students. Rooted in the tested pedagogy of Theory for Today’s Musician, the authors have distilled and reorganized the concepts from the thirty-three chapters of their original textbook into twenty-one succinct, modular chapters that move from the core elements of harmony to further topics in form and 20th-century music. A broad coverage of topics and musicals styles—including examples drawn from popular music—is organized into four key parts:Basic ToolsChromatic HarmonyForm and AnalysisThe 20th Century and BeyondTheory Essentials features clear and jargon-free (yet rigorous) explanations appropriate for students at all levels, ensuring comprehension of concepts that are often confusing or obscure. An accompanying workbook provides corresponding exercises, while a companion website presents streaming audio examples. This concise and reorganized all-in-one package—which can be covered in a single semester for a graduate review, or serve as the backbone for a briefer undergraduate survey—provides a comprehensive, flexible foundation in the vital concepts needed to analyze music.PURCHASING OPTIONSTextbook and Workbook Package (Paperback): 9781138098756Textbook Only (Hardback): 9781138708815Textbook Only (Paperback): 9781138708822Textbook Only (eBook): 9781315201122Workbook Only (Paperback): 9781138098749Workbook Only (eBook): 9781315103839 
To the Instructor xiii
PART ONE BASIC TOOLS
1 Elements of Diatonic Harmony
3(16)
Lead Sheet Notation
3(2)
Lead-Sheet Chord Symbols; Expanded Symbols
Figured Bass Notation
5(3)
Realizing a Figured Bass
The Diatonic Chords
8(5)
Diatonic Triads in Major Keys; Roman Numeral Symbols; The Primary Triads; Diatonic Triads in Minor Keys; Showing Inversion; The Diatonic Seventh Chords
Functional Tonality
13(3)
Chord Function; The Circle of Fifths; Harmonic Motion
The Ground Bass
16(3)
The Common Practice Period
2 Cadences and Harmonic Rhythm
19(12)
Cadences
19(8)
Cadence defined; Cadences and Style; Standard Cadences; Cadential Variants
Harmonic Rhythm
27(4)
Harmonic Rhythm Defined; Harmonic Rhythm and Meter
3 The Outer-Voice Framework/Embellishing Tones
31(14)
Melodic Principles
31(2)
Voice Ranges; Motion between Voices
Creating an Outer-Voice Framework
33(3)
1:1 Counterpoint
Embellishing Tones
36(9)
Step-Step Combinations; Step-Leap Combinations; Step-"Rep" Combinations
4 Part Writing and Chorale Analysis I
45(18)
The Four-Voice Texture
45(1)
Review of Melodic Principles
46(1)
Voicing Chords
47(3)
Spacing; Doubling
Connecting Chords
50(4)
Consecutive Perfect Fifths and Octaves; Voice Crossing and Overlap; Common Tones
The Chorale
54(1)
Root-Position Triads
54(5)
Guidelines for Connecting Root-Position Triads; The Short Rule of Chord Connection
Part Writing Suspensions in Root Position
59(4)
Doubling in Suspensions; Suspensions in Bach's Chorales
5 Part Writing and Chorale Analysis II
63(14)
First Inversion
63(6)
Inversion and Bass Line; Doubling; Chord Connection; Harmonic Weight; Suspensions
Second Inversion
69(8)
Doubling; The Cadential Six-Four Chord; The Passing Six-Four Template; The Pedal Six-Four Chord; The Arpeggiated Six-Four Chord
6 Part Writing and Chorale Analysis III
77(14)
Dominant-Functioning Seventh Chords
77(7)
The V7: Common Practice; The Unresolved Leading Tone; The Unresolved
Seventh; Delayed Resolution; The Leading Tone Seventh Chord Non-Dominant Seventh Chords
84(5)
Function, Resolution, Frequency, Inversion, Incomplete Chords, Altered
Forms; Seventh Chords and Chain Suspensions; The I7 Voice Leading Summary
89(2)
PART TWO CHROMATIC HARMONY
91(100)
7 Secondary Function
93(14)
Secondary Dominants
93(5)
Tonicization; The Tonicizing Tritone Secondary Leading Tone Chords
98(2)
The Secondary Leading Tone Triad Voice Leading
100(7)
Basic Principles; Secondary Function and Chromatic Lines; Harmonic Sequence and Secondary Function
8 Modulation I
107(14)
Modulation Defined
107(1)
Modulation by Common Chord
107(5)
Pivot Chord Defined; Crossing the Tonal Border; Multiple Common Chords Chromatic Modulation
112(9)
Chromatic Modulation Defined; The Rule of Chromatics; Multiple Accidentals; Modulation or Tonicization?
9 Mixing Modes
121(16)
Vocabulary and Syntax
121(1)
Change of Mode
121(4)
Change of Mode Defined; Keys Related through Mode Mixture; Enharmonic Change of Mode
Modal Borrowing
125(4)
Modal Borrowing Defined; Common Borrowed Harmonies; Voice Leading
Chromatic-Third Relationships
129(8)
Diatonic versus Chromatic Third Relationship; The Common Chromatic-Third Relationships; Chromatic Thirds, Mode Mixture, and Tonicization; Voice Leading
10 Altered Predominants and Dominants
137(18)
The Neapolitan Sixth Chord
137(6)
Neapolitan Sixth Chord Defined; The Harmonic Nature of the Neapolitan; Insertions before V
Augmented Sixth Chords
143(8)
The Augmented Sixth Interval; Types of Augmented Sixth Chord; Constructing an Augmented Sixth Chord; Voice Leading; The Neapolitan and Augmented Sixth Chords
Altered Dominants
151(4)
Altered Dominants Defined; The Raised Fifth; The Lowered Fifth; Altered Secondary Dominants
11 Modulation II
155(20)
"In Search of Harmonic Logic"
155(1)
Recognizing the Signals
155(3)
Chromatic Pitches; Clue Chords; Cadences; Thinking Through a Modulation
The Tonal Border
158(7)
Chromatic Modulations
Enharmonic Function
165(10)
The Enharmonic German Sixth Chord; The Enharmonic Diminished Seventh Chord
12 Harmonic Extensions and Chromatic Techniques
175(16)
Climbing the Overtone Series
175(1)
The Dominant Ninth Chord
175(7)
Types of Dominant Ninth Chord; Secondary Dominant Ninth Chords; Inverted Ninth Chords
Other Ninth Chords
182(1)
Eleventh Chords
182(1)
Thirteenth Chords
182(4)
Linear Chromaticism
186(2)
Harmonic Sequence
188(3)
PART THREE FORM AND ANALYSIS
191(80)
13 Melodic Form
193(14)
Within the Phrase: Motive and Sequence
193(1)
The Phrase
194(4)
Phrase Length; Phrases and Cadences; The Musical Sentence; Phrase Relationships
Combining and Extending Phrases
198(9)
The Period; Parallel Period; Contrasting Period; Phrase Group; Double Period; Cadential Elision; Cadential Extension
14 Contrapuntal Forms
207(24)
J. S. Bach's Chorale Harmonizations
207(1)
Bach's Two-Part Inventions
208(2)
The Bach Inventions (Profile); Motive and Countermotive; The Devices of Counterpoint
Analysis of Invention No. 6
210(8)
Invertible Counterpoint; Sequence; Fragmentation; Tonality; Implied Harmony; Invention Analysis Checklist
The Fugue
218(8)
Fugue Defined; Subject and Answer; Real and Tonal Answers; The Exposition; Subsequent Entries and Episodes; The Final Statement--The Closing Section; Link, Counterexposition, and Coda
Analysis: Bach Fugue No.16 (WTC, Book I)(WTC, Book I)
226(5)
15 Small Forms
231(1)
Ways of Looking at Form
231(5)
Motivic Analysis; Similarity and Contrast; Musical Processes
Statement and Restatement
236(4)
The Coda
240(2)
Statement and Contrast/Binary Forms
242(2)
Sectional versus Continuous Forms; Symmetric versus Asymmetric Forms
Statement-Contrast-Restatement
244(5)
Rounded Binary versus Ternary Form
16 Sonata Form
249(14)
A Brief History
249(1)
Origins; Establishment, Departure and Return Mozart: Eine kleine Nachtmusik (first movement)
250(11)
The Exposition; Primary Tonality and Theme; Transition; Secondary Tonality and Theme; Closing Area; Development; Retransition; Recapitulation; Coda
Summary of Eine kleine Nachtmusik (first movement)
261(2)
17 Rondo
263(8)
Perspective
263(1)
Refrain and Episode
Beethoven: Piano Sonata op. 13 (second movement)
264(7)
The Rondo Theme; The First Episode; The First Refrain; The Second Episode; The Second Refrain; The Coda; Summary
PART FOUR THE 20TH CENTURY AND BEYOND
271(84)
18 Syntax and Vocabulary
273(16)
Syntax
273(4)
Debussy's Syntax; Planing; The Non-Functional Mm7 Chord; Modality
277(3)
The Church Modes; Modal Cadences New Melodic and Harmonic Structures
280(9)
Pentatonicism; Quartal and Quintal Harmonies; The Whole Tone Scale; Other Scales
19 New Tonal Methods
289(12)
New Tonal Ventures
289(7)
Quartal Harmonies; Polychords; Polytonality; Bimodality and Dual Modality; Pandiatonicism
Stravinsky
296(2)
Stravinsky (Profile); The Rite of Spring Bartok
298(3)
Bartok (Profile); "Boating" (from Mikrokosmos Book V)
20 Non-Serial Atonality
301(18)
Perspective
301(1)
Atonality: Tools and Terminology
301(4)
Unordered Set Analysis
305(3)
Normal Order and Set Type
Analyzing the Set Type
308(5)
Best Normal Order; Prime Form; The Interval Class Vector; The Z Relationship; The Set Class
Applications in Analysis
313(3)
Hints for Analysis
316(3)
Another Way
21 Serial Atonality
319(36)
Serialism
319(5)
Serialism Defined; Basic Tenets
The Matrix
324(2)
Constructing a, Matrix; Indexing a Matrix Finding the Row
326(5)
Hexachordal Symmetry
331(24)
Appendix A Intervals, Modes and Key 355
Appendix B Selected Rhythm Topics 339(8)
Appendix C Basic Harmonic Structures 347(4)
Appendix D Part-Writing Guidelines 351(2)
Glossary 353(18)
Credits 371(2)
Index 373(6)
Track Listing 379
Ralph Turek is a theorist, composer, author, jazz pianist, Professor Emeritus at The University of Akron, and a veteran of thirty-five years of teaching in the music theory classroom. He is the co-author of Theory for Todays Musician.

Daniel McCarthy is a familiar name in contemporary American music. As a composer, he has received distinguished faculty research/creativity awards at Indiana State University and The University of Akron, where he is Chair of the Composition and Theory Section in the School of Music. He is the co-author of Theory for Todays Musician.