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Theory for Today's Musician Textbook 3rd edition [Kõva köide]

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(University of Akron, USA), (University of Akron, USA)
  • Formaat: Hardback, 758 pages, kõrgus x laius: 260x210 mm, kaal: 2080 g, 910 Line drawings, black and white
  • Ilmumisaeg: 19-Dec-2018
  • Kirjastus: Routledge
  • ISBN-10: 0815371713
  • ISBN-13: 9780815371717
Teised raamatud teemal:
Theory for Today's Musician Textbook 3rd editionSuurem pilt
  • Formaat: Hardback, 758 pages, kõrgus x laius: 260x210 mm, kaal: 2080 g, 910 Line drawings, black and white
  • Ilmumisaeg: 19-Dec-2018
  • Kirjastus: Routledge
  • ISBN-10: 0815371713
  • ISBN-13: 9780815371717
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780815371717.html
Märksõnad:
Theory for Todays Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to todays music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers.

This broadly comprehensive text merges traditional topics such as part writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. The accompanying companion website provides interactive exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Todays Musician is the complete and ideal theory text to enable todays student to accomplish their musical goals tomorrow.

Updated and corrected throughout, the Third Edition includes:





Expanded coverage of atonality and serialism, now separated into two chapters. Broadened treatment of cadences, including examples from popular music. Substantially rewritten chapter on songwriting. Interactive features of the text simplified to two types, "Concept Checks" and "Review and Reinforcement," for greater ease of use. New and updated musical examples added throughout. Charts, illustrations, and musical examples revised for increased clarity. Audio of musical examples now provided through the companion website.

The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. A companion website houses online tutorials with drills of basic concepts, as well as audio.

The hardback TEXTBOOK is also paired with the corresponding paperback WORKBOOK in a discounted PACKAGE (9780815371731).
Preface xxi
Acknowledgments xxxi
PART ONE IN LIEU OF FUNDAMENTALS
1(30)
1 Assorted Preliminaries
5(13)
Pitch Matters
5(3)
The Staff and its Clefs
Solmization
The Hexachord System
Accidentals
Modes, Scales, and Evolution
8(3)
Church Modes
Musica Ficta
Meter Matters
11(3)
Meter
The Dot
Early Meter Signatures
Hypermeter
Sound
14(3)
Overtones
Equal Temperament
Coda
17(1)
Do You Know These Terms?
17(1)
2 Intervals
18(13)
Perspective: Five Ways to Express an Octave
18(1)
White-Key Intervals
19(4)
Intervals of the Major Scale
23(2)
Related Matters
25(4)
Inversion
Enharmonic Intervals
Simple versus Compound
Diatonic versus
Chromatic
Consonance versus Dissonance
Coda
29(1)
Do You Know These Terms?
29(2)
PART TWO DIATONIC HARMONY
31(66)
3 Basic Harmonic Structures
33(13)
Triads
33(4)
Harmony and Chord
Basic Triads
Stability and Color
Chord Inversion
37(3)
Inversion and Bass Line
Determining Chord Inversion
Seventh Chords
40(5)
Classification of Seventh Chords
Inverted Seventh Chords
Coda
45(1)
Do You Know These Terms?
45(1)
4 Musical Shorthand: Lead Sheets and Figured Bass
46(13)
Lead-Sheet Notation
46(4)
Lead-Sheet Chord Symbols
Expanded Symbols
More on Chord Inversion: The Numbers Game
50(1)
Figured Bass Notation
51(7)
Realizing a Figured Bass
Coda
58(1)
Do You Know These Terms?
58(1)
5 Harmonies of the Major and Minor Scales
59(20)
The Diatonic Chords
59(7)
Diatonic Triads in Major Keys
Roman Numeral Symbols
The "Primary Triads"
Diatonic Triads in Minor Keys
Showing Inversion
The Diatonic Seventh Chords Functional Tonality
66(12)
Chord Function
The Circle of Fifths
Progression, Retrogression, and Repetition
Repeating Harmonic Plans Coda
78(1)
The Common Practice Period Do You Know These Terms?
78(1)
6 Cadences/Harmonic Rhythm
79(18)
Cadences
79(10)
Standard Cadences
Summary of Standard Cadences
Non-standard Cadences
Harmonic Rhythm
89(6)
Common Patterns
Coda
95(1)
Do You Know These Terms?
95(2)
PART THREE MELODY
97(70)
7 Melodic Pitch and Rhythm
99(23)
Range, Interval Structure, and Gesture
99(6)
Range
Interval Structure
Gesture Repetition
105(8)
Motive
Sequence
Types of Sequences Melodic Tonality
113(3)
Scales and Arpeggios
Tonic-Dominant Axis Melodic Structure
116(5)
Large-Scale Events
Recognizing Important Pitches
Heinrich Schenker Coda
121(1)
Do You Know These Terms?
121(1)
8 Embellishing Tones
122(19)
The Standard Voices
124(1)
Step-Step Combinations
124(3)
Passing Tones
Neighbor Tones Step-Leap Combinations
127(2)
Appoggiatura
Escape Tone
Double Neighbor Step-Repetition Combinations
129(4)
Anticipation
Suspension and Retardation
Other Ways to Designate
Suspensions
Embellishing Tones and Style
133(6)
Multiple Embellishing Tones
Embellishing Tones in Jazz
Embellishing Tones as Motives
The Embellishing Chord Tone Coda
139(1)
Summary of Embellishing Tones
140(1)
Do You Know These Terms?
140(1)
9 Melodic Form
141(26)
The Phrase
141(7)
What Is a Phrase?
Phrase Length
Phrases and Cadences
The Musical
Sentence
Phrase Relationships Combining and Extending Phrases
148(17)
The Period
Parallel Period
Contrasting Period
Phrase Group
Double Period
Cadential Elision
Cadential Extension Coda
165(1)
Do You Know These Terms?
165(2)
PART FOUR VOICE LEADING
167(78)
10 Melodic Principles of Part Writing: The Outer-Voice
Framework
169(1)
Melodic Principles
169(3)
Creating an Outer-Voice Framework
172(8)
1:1 Counterpoint
2:1 Counterpoint
Coda
180(1)
Do You Know These Terms?
180(1)
11 The Melodic Factor in Four-Voice Part Writing: Voicing and Connecting Chords
181(15)
Perspective: Why Four Parts?
181(1)
Review of Melodic Principles
182(2)
Voicing Chords
184(4)
Spacing
Doubling
The Short Rule of Doubling
Alternative
Doubling
Connecting Chords
188(7)
Consecutive Perfect Fifths and Octaves
Voice Crossing and Overlap
Common Tones
When No Common Tones Are Present Coda
195(1)
Do You Know These Terms?
195(1)
12 The Chorale: Part Writing with Root-Position Triads
196(13)
Part Writing and Golf
196(1)
The Chorale
196(1)
Melodic Features
Part Writing with Root-Position Triads
197(5)
Fifth Relationship/Part Writing the Authentic Cadence, Plagal Cadence, and Half Cadence
Third Relationship
Second Relationship
Warning! Part Writing Hazard!
Part Writing the Deceptive Cadence
Guidelines for Connecting Root-Position Triads
202(3)
The Short Rule of Chord Connection Part-Writing Suspensions
205(3)
Doubling in Suspensions Coda
208(1)
Do You Know These Terms?
208(1)
13 Part Writing with Triads in Inversion
209(18)
Perspective
209(1)
First Inversion
210(8)
Inversion and Bass Line
Doubling in First Inversion
Why Not the Other Tone?
Chord Connection
Inversion and Harmonic Weight
Suspensions and First Inversion Second Inversion
218(7)
The Cadential Six-Four Chord
The Passing Six-Four Chord
The Pedal Six-Four Chord
The Arpeggiated Six-Four Chord
Six-Four Chord Variants
Coda
225(1)
Do You Know These Terms?
226(1)
14 Part Writing Seventh Chords
227(18)
Perspective
227(1)
The Short Rule of the Seventh
Seventh Chords of Dominant Function
228(6)
The Dominant Seventh Chord
The V7
Chord Member or Not?
The Unresolved Leading Tone
The Unresolved Seventh
Delayed
Resolution
The Leading-Tone Seventh Chord Nondominant Seventh Chords
234(8)
Features and Functions
Seventh Chords and Chain Suspensions
The I7 Voice-Leading Summary
242(1)
Coda
243(1)
Do You Know These Terms?
244(1)
PART FIVE BASIC CHROMATIC HARMONY
245(56)
15 Secondary Function I
247(20)
Secondary Dominants
247(9)
The V/x
Tonicization
The Tonicizing Tritone
The V7/x
Secondary Leading-Tone Chords
256(2)
Vii°/x, vii°7/x, vii°7/x
Voice Leading
258(8)
Doubling and Resolution
Secondary Function and Chromatic Lines
Harmonic Sequence and Secondary Function Coda
266(1)
Do You Know These Terms?
266(1)
16 Secondary Function II
267(16)
Preliminary Note
267(1)
Jazz and Popular Styles
268(11)
V7/x
Expanding (Prolonging) a Tonicization
Vii°7/x
The Tonicizing IV?
Melody Harmonization
279(3)
Coda
282(1)
Do You Know These Terms?
282(1)
17 Modulation I
283(18)
A Preliminary Quiz
283(1)
Modulation by Common Chord
284(8)
Crossing the "Tonal Border"
Multiple Common Chords
What Is Closely
Belated about Closely Related Keys?
Chromatic Modulation
292(8)
The Rule of Chromatics
Multiple Accidentals
Modulation or Tonicization?
Coda
300(1)
Do You Know These Terms?
300(1)
PART SIX COUNTERPOINT
301(44)
18 The Art of Countermelody
303(26)
The Basics of Two-Voice Counterpoint
303(12)
Motion between Voices Redux
Note-Against-Note Counterpoint
Converting 1:1 to 2:1
Essentials of Counterpoint
Converting 2:1 to 4:1
Counterpoint in Film, Jazz, and Popular Styles Johann Sebastian Bach's Chorale Harmonizations
315(2)
Polyphonic or Homophonic? Bach's Two-Part Inventions
317(2)
Bach: The "Mother of Inventions"
Motive and Countermotive
The Devices of Counterpoint Bach: Invention no. 6.
319(8)
Invertible Counterpoint
Sequence
Fragmentation
Tonality
Implied Harmony
Form Invention Analysis: A Checklist
327(1)
Coda
328(1)
Do You Know These Terms?
328(1)
19 The Fugue
329(16)
The Basics of Fugue
329(10)
Subject and Answer
Real and Tonal Answer
Bridge and Link
The Exposition
Subsequent Entries and Episodes
The Final Statement-- Closing Section
Summary
Analysis
339(4)
About This Fugue
Coda
343(1)
Do You Know These Terms?
343(2)
PART SEVEN ADVANCED CHROMATIC HARMONY
345(106)
20 Mixing Modes
347(21)
Perspective: Adding to the Palette
347(1)
Vocabulary and Syntax
Change of Mode
348(4)
Mode and Mood
Keys Related through Mode Mixture
Enharmonic Change of Mode
Modal Borrowing
352(7)
Modal Borrowing versus Change of Mode
Common Borrowed Harmonies
Voice Leading
Chromatic-Third Relationships
359(8)
Chromatic vs. Diatonic-Third Relationship
The Common Chromatic-Third Relationships
Chromatic Thirds, Mode Mixture, and Tonicization
Voice Leading
Coda
367(1)
Do You Know These Terms?
367(1)
21 Altered Pre-Dominants
368(20)
Perspective
368(1)
The Neapolitan Sixth Chord
369(8)
What's in a Name?
The Harmonic Nature of the Neapolitan
Insertions before V
Augmented Sixth Chords
377(10)
The Augmented Sixth Interval
The Augmented Sixth Chord in Three Flavors
Constructing an Augmented Sixth Chord
Voice Leading
The Enharmonic German Sixth Chord
Coda
387(1)
Do You Know These Terms?
387(1)
22 Other Chromatic Harmonies
388(15)
Altered Dominants
388(7)
The Raised Fifth
The Lowered Fifth
Altered Dominants as Secondary Functions
Embellishing Diminished Seventh Chords
395(7)
Functional versus Embellishing Diminished Seventh Chords
Spelling and Resolving the Embellishing "7 Coda
402(1)
Do You Know These Terms?
402(1)
23 Modulation II
403(25)
Perspective: "In Search of Harmonic Logic"
403(1)
The Musical Road Trip and the Tonal Border
The Three Cs: Recognizing the Signals
404(3)
Chromatic Pitches
Clue Chords
Cadences
Thinking Through a Modulation
Back to the Tonal Border
407(2)
Modulations Case-by-Case
409(8)
Case 1
Case 2
Case 3
Putting Things Together The Secret Lives of Chords
417(10)
The Enharmonic German Sixth Chord
The Enharmonic Diminished Seventh Chord
Enharmonic Juggling with the Diminished Seventh Chord Coda
427(1)
Do You Know These Terms?
427(1)
24 Harmonic Extensions and Chromatic Techniques
428(23)
Triadic Extensions: Climbing the Overtone Series
428(1)
The Rise of the Ninth
429(14)
The Dominant Ninth Chord
Common Voicings
Inverted Ninth Chords
Secondary Dominant Ninth Chords
Other Ninth Chords
Eleventh Chords
Thirteenth Chords
Linear Chromaticism
443(2)
Chopin's Adventure
Harmonic Sequence
445(4)
Coda
449(1)
Do You Know These Terms?
449(2)
PART EIGHT ORM
451(56)
25 Binary and Ternary Forms
453(25)
Three Ways of Looking at Form
453(7)
Motivic Analysis
Similarity and Contrast
Musical Processes
Statement and Restatement (AA')
460(4)
The Coda
464(2)
Statement and Contrast (AB)
466(3)
Sectional versus Continuous Forms
Symmetric versus Asymmetric Forms
Statement-Contrast-Restatement (ABA)
469(8)
Rounded Binary versus Ternary Form Coda
477(1)
Do You Know These Terms?
477(1)
26 Sonata Form
478(17)
A History in Brief
478(1)
Establishment, Departure, and Return
Mozart: "Eine kleine Nachtmusik" (first movement)
479(14)
The Exposition
Primary Tonality and Theme
Transition
Secondary Tonality and Theme
Closing Area
Development
Retransition
Recapitulation
Coda
Summary of "Eine kleine Nachtmusik" (first movement)
493(1)
Additional Pieces for Study
494(1)
Do You Know These Terms?
494(1)
27 The Rondo
495(12)
Perspective
495(1)
Refrain and Episode
Beethoven: "Piano Sonata," op. 13 (second movement)
496(9)
The Refrain (A)
The First Episode (B)
The Second Refrain (A)
The Second Episode (C)
The Third Refrain (A1)
The Coda
Summary
Do You Know These Terms?
505(2)
PART NINE MUSIC IN THE TWENTIETH CENTURY AND BEYOND
507(140)
28 Syntax and Vocabulary
509(21)
Syntax
509(10)
Planing
The Nonfunctional "Dominant Seventh"
The Augmented Triad
Modality
Modal Cadences New Melodic and Harmonic Structures
519(10)
Pentatonic Scales
Quartal and Quintal Harmonies
Whole-Tone Scale
Other Scales
Coda
529(1)
Do You Know These Terms?
529(1)
29 New Tonal Methods
530(18)
Perspective
530(1)
New Tonal Ventures
530(9)
Quartal Harmonies
Polychords
Polytonality
Bimodality/Dual Modality
Pandiatonicism
Stravinsky and Bartok
539(6)
Igor Stravinsky
"The Rite of Spring"
Bela Bartok
"Boating" (from Mikrokosmos Book V)
Analysis
Pentatonic Melody
545(1)
Modality
545(1)
Hemiola
546(1)
Harmony and Tonality
546(1)
Coda
547(1)
Do You Know These Terms?
547(1)
30 Non-Serial Atonality
548(18)
Perspective
548(1)
Atonality
549(4)
Tools and Terminology for Analysis Set Analysis
553(3)
Schoenberg's Early Atonality
Normal Order Set Type
556(5)
Best Normal Order
Other Ways
Prime Form
Inversional Symmetry
The Interval Class Vector
The Z Relationship Applications to Analysis
561(4)
Hints for Analysis
Set and Superset
Another Way Summary of Terminology
565(1)
31 Serial Atonality
566(17)
Serialism
566(6)
The Evolution of an Idea
Basic Tenets of the 12-Tone Method
The Matrix
572(3)
Constructing a Matrix
Indexing the Matrix
Identifying the Row: Segmentation
575(2)
Hexachordal Symmetry
577(2)
Hints for Analysis
579(2)
The Derived Set
581(1)
Coda
582(1)
Do You Know These Terms?
582(1)
32 Harmonic Principles in Jazz
583(29)
What's the Difference?
583(1)
What this
Chapter Can't Do
What this
Chapter Can Do Extending the Triad
584(9)
The Basic Seventh Chords (A Review)
The Extended Seventh Chord
Melodic Implications
Voicing Chord Substitution
593(12)
Why Substitute?
Tonicization
Tritone Equivalence
The Turnaround
Substitution Guideline
Expanded Tritone Substitution Implied Lines
605(6)
Reading between the Chords
Auxiliary Chords Coda
611(1)
Do You Know These Terms?
611(1)
33 The Blues
612(17)
Perspective
612(1)
The Blues Then and Now
612(12)
What Is "The Blues?"
The Basic Blues Today
Tonicization
Substitution
Tonicizing Chord Groups
Minor-Key Blues
Blues Melodic Practice
624(4)
Blue Notes and Pentatonicism
Blue Note Scales
Blue Note Scales in Minor Keys
Blues Variants
Coda
628(1)
Do You Know These Terms?
628(1)
34 Shaping a Song
629(18)
Perspective
629(1)
Song and Dance
Lyrics
630(3)
Words and Rhythm
Words and Meter
Melody and Harmony
633(6)
Motive and Sequence
Extracting a Melody from a Harmonic Pattern
Harmonic Models, Forms, and Styles
639(4)
Song Writing Then and Now
643(2)
Coda
645(1)
Do You Know These Terms?
646(1)
Appendix A Pitch 647(19)
Appendix B Rhythm 666(12)
Appendix C Lead-Sheet Symbols 678(2)
Appendix D Part Writing Guidelines 680(2)
Glossary 682(19)
Credits 701(6)
Index 707(6)
Index of Musical Examples 713(6)
Audio Playlist 719
Ralph Turek is a theorist, composer, author, jazz pianist, Professor Emeritus at The University of Akron, and a veteran of 35 years of teaching in the music theory classroom.

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.