Music for Analysis: Examples from the Common Practice Period and the Twentieth Century / Edition 7

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Overview

In this comprehensive music anthology, readers will find more than 400 musical examples. Designed as a perfect companion for theory text, Music For Analysis is an outstanding resource for supporting independent musical analysis. Presenting music in a great variety of forms, styles, and genres, this book provides a wonderfully broad repertory of music and its composers form the Baroque period to the present.
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Editorial Reviews

From the Publisher

"Outstanding features include the number and variety of examples (in style, genre, and performance medium), their organization by topic, the CD, the Model Analyses, the complete pieces, and the analytical guidelines and questions. The new Model Analyses add more depth to the text and enable it to be used in a wider variety of class offerings. As an anthology that can be used for both harmony and form classes (or a combination thereof), this text can't be beat."--Ellon Carpenter, Arizona State University

"I have never seen an anthology that comes close to this one for extensiveness, playability, variety, and practicality for theory classes."--Robert Young McMahan, The College of New Jersey

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Product Details

  • ISBN-13: 9780195379839
  • Publisher: Oxford University Press
  • Publication date: 11/9/2009
  • Format: Spiral Bound
  • Edition description: New Edition
  • Edition number: 7
  • Pages: 592
  • Sales rank: 325,287
  • Product dimensions: 9.30 (w) x 10.90 (h) x 0.90 (d)

Meet the Author

Thomas Benjamin is Professor of Music Theory and Composition at the Peabody Conservatory of the Johns Hopkins University.

Michael Horvit is Professor Emeritus of Music Theory and Composition at the University of Houston Moores School of Music.

Robert Nelson is Professor Emeritus of Music Theory and Composition at the University of Houston Moores School of Music.

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Table of Contents

* = Indicates new to this edition
= Indicates inclusion on CD

Each Part opens with Suggestions for Discussion

CD Track List
Preface
Suggestions for Using This Book

PART I: DIATONIC MATERIALS

1) TONIC TRIAD
Questions for Analysis
1. HAYDN, Sonatina in G major, Hob. XVI: 8
2. CZERNY, Sonatina, op. 792, no. 8
3. RIMSKY-KORSAKOV, Le Coq d'Or: Hymn to the Sun
4. BEETHOVEN, Leonora Overture No. 2, op. 72
5. BEETHOVEN, Trio, op. 70, no. 2
6. CHOPIN, Polens Grabgesang, op. 74
7. CHOPIN, Valse (Posthumous)
8. BEETHOVEN, Symphony No. 5, op. 67
9. COUPERIN, Carnival

2) DOMINANT TRIAD IN ROOT POSITION
Questions for Analysis
10. MOZART, Rondo
11. KUHNAU, Biblical Sonata No. 1: Victory Dance and Festival
12. BEETHOVEN, Für Elise
13. SCHUMANN, Album for the Young, op. 68: Reiterstück
14. WEBER, Euryanthe, op. 81: Overture
15. BEETHOVEN, Symphony No. 5, op. 67

3) DOMINANT SEVENTH AND NINTH IN ROOT POSITION
Questions for Analysis
Model Analysis
16. WEBER, German Dance
17. MOZART, Sonata, K. 332
18. SCHUBERT, Wiegenlied, op. 98, no. 2
19. VERDI, Rigoletto, Act I, no. 2
20. HAYDN, Sonata in E major, Hob. XVI: 13
21. BEETHOVEN, Symphony No. 4, op. 60
22. WEBER, Oberon: Overture
23. SCHUBERT, Ländler
24. SCHUBERT, Valses Nobles, op. 77
25. MOZART, Valse

4) SUBDOMINANT TRIAD IN ROOT POSITION
Questions for Analysis
26. SCHEIDT, Bergamasca
27. SCHUMANN, Faschingsschwank aus Wien, op. 26, no. 3: Scherzino
28. CHOPIN, Mazurka, op. 17, no. 1
29. BEETHOVEN, Egmont Overture, op. 84
30. VERDI, Rigoletto, Act I, no. 7
31. SCHUBERT, Impromptu, op. 90, no. 4, D. 899
32. KERN, Look for the Silver Lining
33. BEETHOVEN, Seven Country Dances, no. 7
34. SCHUBERT, Ländler

5) CADENTIAL TONIC SIX-FOUR CHORD
Questions for Analysis
35. SCHUBERT, Valses Sentimentales, op. 50, no. 18
36. CHOPIN, Mazurka, op. 24, no. 3
37. DONIZETTI, Lucia di Lammermoor, Act II, no. 6
38. BEETHOVEN, Trio, op. 97

6) TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN FIRST INVERSION
Questions for Analysis
Model Analysis
39. BACH, Lobt Gott, ihr Christen, allzugleich
40. MOZART, Bastien und Bastienne, K. 46B, no. 9
41. MOZART, Sonata, K. 332
42. HAYDN, Sonata in D major, Hob. XVI:37
43. MOZART, Abendempfindung, K. 523
44. BEETHOVEN, Symphony No. 5, op. 67
45. BEETHOVEN, Fidelio, Act I, no. 9
46. MOZART, Sonata, K. 570
47. MENDELSSOHN, Elijah, op. 70, no. 29
48. COUPERIN, Le Petit Rien
49. DANDRIEU, Les Fifres

7) SUPERTONIC TRIAD
Questions for Analysis
50. ANONYMOUS, Dir, dir, Jehovah, will ich singen
51. SCHUBERT, Waltz, op. 9, no. 3, D. 365
52. BEETHOVEN, Six Variations on "Nel cor più non mi sento"
53. MOZART, Die Zauberflöte, K. 620, Act II, no. 21
54. CHOPIN, Zwei Leichen
55. BEETHOVEN, Trio, op. 121A
56. VERDI, Rigoletto, Act II, no. 14
57. CHOPIN, Mazurka, op. 33, no. 2
58. HAYDN, Sonata in E minor, Hob. XVI: 34

8) INVERSIONS OF THE DOMINANT SEVENTH CHORD
Questions for Analysis
59. J. C. F. BACH, Nun danket alle Gott
60. HAYDN, Sonata in C major, Hob. XVI: 35
61. PAISIELLO, Le donne sur balcone
62. MOZART, Quartet, K. 464
63. BEETHOVEN, Sonata, op. 31, no. 3
64. RAMEAU, Sarabande I, vol. I
65. HAYDN, Trio in C major, Hob. XV: 3
66. KUHLAU, Sonatina, op. 20, no. 1
67. BEETHOVEN, Symphony No. 2, op. 36
68. BEETHOVEN, Minuet in C

9) LINEAR (EMBELLISHING) SIX-FOUR CHORDS
Questions for Analysis
69. BEETHOVEN, Concerto No. 1 for Piano, op. 15
70. SCHUBERT, Valses Sentimentales, op. 50, no. 1, D. 779
71. MOZART, Rondo, K. 485
72. HAYDN, Quartet, op. 3, no. 5
73. SCHUBERT, Waltz, op. 9, no. 1, D. 365
74. KUHLAU, Sonatina, op. 88, no. 3
75. MOZART, Symphony No. 35, K. 385
76. BEETHOVEN, Sonatina in G major
77. BEETHOVEN, Symphony No. 7, op. 92
78. MOZART, Symphony No. 41, K. 551
79. HAYDN, Sonata in D major, Hob. XVI: 37
80. BEETHOVEN, Contradanse
81. BUXTEHUDE, Passacaglia
82. BEETHOVEN, Symphony No. 3, op. 55
83. GOUNOD, Faust, Act I, no. 6
84. SULLIVAN, H.M.S. Pinafore, "I'm Called Little Buttercup"

10) SUBMEDIANT AND MEDIANT TRIADS
Questions for Analysis
85. CRÜGER, Herzliebster Jesu, was hast du verbrochen
86. ANONYMOUS, Dir, dir, Jehovah, will ich singen
87. BACH, Schmücke dich, o liebe Seele
88. MOZART, Bastien und Bastienne, K. 46B, no. 1
89. MOZART, Sonata, K. 545
90. HANDEL, Sonata in F for Flute and Continuo
91. VERDI, Rigoletto, Act I, no. 1
92. BRAHMS, Symphony No. 4, op. 98
93. CORELLI, Sonata for Violin and Continuo, op. 5, no. 9
94. SCHUBERT, Quartet in D major, D. 74
95. BEETHOVEN, Trio, op. 1, no. 3
96. MOZART, Sonata, K. 283
97. J. C. F. BACH, Menuet
98. TESSIER, Au joli bois je m'en vais
99. STRAUSS, Der Rosenkavalier, Act III
100. BRAHMS, Romance, op. 118, no. 5
101. SCHUMANN, Phantasiestücke, op. 12, no. 4, Grillen
102. SCHUBERT, Im Abendroth (Posthumous)
103. SCHUBERT, Symphony in C major ("The Great")

11) LEADING TONE TRIAD
Questions for Analysis
104. TESCHNER, Schatz über alle Schätze
105. BACH, Aus meines Herzens Grunde
106. SCHUMANN, Album for the Young, op. 68: Soldatenmarsch
107. HANDEL, Courante
108. HAYDN, Sonata in E major, Hob. XVI: 49
109. HAYDN, Sonatina in D major, Hob. XVI: 4
110. MOZART, Sonata, K. 280
111. DAQUIN, La Joyeuse

12) VARIANT QUALITIES OF DIATONIC TRIADS
Questions for Analysis
Scalar Variants in Minor
112. BACH, Herr, ich habe mibgehandelt
113. PACHELBEL, Chaconne
114. TELEMANN, Fantasie No. 8
115. BYRD, Pavana "The Earle of Salisbury"
116. A. SCARLATTI, Folia
117. MATTHESON, Minuet
118. MOZART, Sonata, K. 310
Modal Borrowing
119. VERDI, La Traviata, Act I, no. 4
120. DONIZETTI, Linda di Chamounix, "O luce di quest'anima"
121. MOZART, Sonata for Violin and Piano, K. 306
122. HAYDN, Sonatina in C major, Hob. XVI: 7
123. SCHUBERT, Aufenthalt
124. SCHUBERT, Der Wanderer
125. BRAHMS, Symphony No. 3, op. 90
126. VERDI, Il Trovatore, Act II, no. 11
127. BEETHOVEN, Symphony No. 5, op. 67
128. BRAHMS, Symphony No. 4, op. 98

13) SUPERTONIC SEVENTH CHORD
Questions for Analysis
129. ANONYMOUS, Herr, wie du willst, so schick's mit mir
130. BACH, Straf' mich nicht in deinem Zorn
131. HAYDN, Sonata in A major, Hob. XVI: 46
132. GRIEG, Voegtersang
133. BEETHOVEN, Symphony No. 6, op. 68
134. SCHUBERT, Quartet, op. 168, D. 112
135. MOZART, Sonata, K. 310
136. SCHUBERT, Ständchen
137. BEETHOVEN, Symphony No. 2, op. 36
138. BEETHOVEN, Sonata, op. 14, no. 2
139. BEETHOVEN, Symphony No. 6, op. 68
140. BIZET, Carmen, Act II: Entr'acte
141. RODGERS, Blue Moon

14) LEADING TONE SEVENTH CHORD
Questions for Analysis
142. DVORAK, Quartet, op. 96
143. MOZART, Sonata, K. 457
144. SCHUMANN, Carnaval, op. 9: Chiarina
145. BRAHMS, Ballade, op. 10, no. 4
146. HANDEL, Sonata for Flute and Continuo
147. HAYDN (?), Allegro
148. HAYDN, Trio in G major, Hob. XV: 25
149. MOZART, Requiem, K. 626: Offertorium
150. HAYDN, Sonatina in G major, Hob. XVI: 11
151. HANDEL, Judas Maccabaeus, Part III: no. 53, Introduction
152. WAGNER, Das Rheinghold, Scene 1
153. GLUCK, Orphée, Act I, no. 1
154. HANDEL, Aria con Variazioni, Leçon No. 1 98 155. TELEMANN, Fantasia, 1er Dozzina, no. 5
156. MOZART, Sonata for Violin and Piano, K. 306

15) OTHER DIATONIC SEVENTH CHORDS
Questions for Analysis
157. BACH, O Ewigkeit, du Donnerwort
158. MOZART, Rondo. K. 494
159. MENDELSSOHN, Kinderstück, op. 72, no. 1
160. PACHELBEL, Fantasie
161. HANDEL, Sonata for Flute and Continuo
162. HANDEL, Leçon No. 2, Menuet
163. TCHAIKOVSKY, Symphony No. 4, op. 36
164. BACH, French Suite in D minor

16) COMPLETE PIECES FOR ANALYSIS I
Questions for Analysis
165. BEETHOVEN, Minuet
166. SCHUBERT, Dance
167. SCHUBERT, German Dance, op. 33, no. 12
168. BEETHOVEN, Scottish Dance
169. PURCELL, Rigadoon
170. RAMEAU, Minuet
171. WITT, Passacaglia
172. GRIEG, Norsk

PART II: CHROMATIC MATERIALS

17) SECONDARY (APPLIED, BORROWED) DOMINANTS
Questions for Analysis
Model Analysis
173. BEETHOVEN, Trio, op. 1, no. 1
174. MOZART, Sonata, K. 281
175. SCHUBERT, Impromptu, op. 142, no. 3
176. HAYDN, Trio in D major
177. BEETHOVEN, Sonatina in G major
178. WEBER, Oberon: Overture
179. BEETHOVEN, Trio, op. 1, no. 1
180. SCHUMANN, Sonata, op. 118c., Andante
181. BEETHOVEN, Symphony No. 1, op. 21
182. HANDEL, Suite XI
183. SCHUMANN, Arabeske, op. 18
184. BEETHOVEN, Symphony No. 4, op. 60
185. SCHUMANN, Widmung, op. 25, no. 1
186. SCHUBERT, Symphony No. 8 ("Unfinished")
187. SCHUMANN, Sonata, op. 118c126 ., Puppenwiegenlied
188. SCHUBERT, Quintet ("Die Forelle"), op. 114, D. 667
189. BEETHOVEN, Quintet, op. 29
190. BEETHOVEN, Trio, op. 11
191. VERDI, Rigoletto, Act II, no. 7
192. HANDEL, Suite XVI
193. BEETHOVEN, Sonata, op. 53
194. SCHUBERT, Symphony in C major ("The Great")
195. BEETHOVEN, Trio, op. 1, no. 3
196. SCHUBERT, Mass in E major: Benedictus
197. MENDELSSOHN, Midsummer Night's Dream, op. 61: Wedding March
198. VERDI, Rigoletto, Act II, no. 14
199. BACH, Christmas Oratorio, no. 4: Introduction
200. HANDEL, Sonata VII for Flute and Continuo
201. CHOPIN, Mazurka, op. 67, no. 2
202. CHOPIN, Valse, op. 69, no. 1
203. CHOPIN, Valse Brillante, op. 34, no. 3
204. GERSHWIN, Someone to Watch Over Me
205. TCHAIKOVSKY, Morning Prayer

18) MODULATION TO CLOSELY RELATED KEYS
Questions for Analysis
Modulation to Dominant
206. MOZART, Symphony No. 39, K. 543
207. MOZART, Sonata, K. 331
208. BEETHOVEN, Symphony No. 2, op. 36
209. HAYDN, Minuet
210. SCHUBERT, Quartet, D. 173
211. HAYDN, Sonata in C minor, Hob. XVI: 36
212. MOZART, Symphony No. 41, K. 551
213. CHOPIN, Mazurka, op. 7, no. 2
214. HAYDN, Sonata in G major, Hob. XVI: 39
215. MOZART, Sonata, K. 282, Menuet I
216. SCHUBERT, Quartet, D. 173
Modulation to Relative Major
217. HAYDN, Trio in F minor, Hob. XV: 26
218. HAYDN, Sonata in E minor, Hob. XVI: 34
219. MOZART, Sonata, K. 330
220. DONIZETTI, Lucia di Lammermoor, Act I, Cavatina
221. BRAHMS, Quintet, op. 115
222. BEETHOVEN, Symphony No. 7, op. 92
223. HAYDN, Symphony No. 104, Hob. I: 104
Modulation to other Closely Related Keys
224. HAYDN, Sonatina, Hob. XVI: 1
225. BONONCINI, Deh più a me non vàscondete
226. SAINT-SAËNS, Carneval des Animaux: Le Cygne
227. BRAHMS, Waltz, op. 39, no. 15
228. BEETHOVEN, Quartet, op. 18, no. 2
229. PURCELL, Dido and Aeneas, Act I, scene I
230. BACH, French Suite in C Minor

19) COMPLETE PIECES FOR ANALYSIS II
Checklist for Analysis
231. BACH, Wachet auf, ruft uns die Stimme
232. BACH, In dulci jubilo
233. BACH, Christ lag in Todesbanden
234. HANDEL, Menuet
235. BEETHOVEN, Sonata, op. 26
236. SCHUMANN, Sonata, op. 118b., Abendlied 169
237. BRAHMS, Waltz, op. 39
238. HANDEL, Prelude
239. BEETHOVEN, Sonatina in F major
240. HAYDN, Sonata in G major, Hob. XVI: 27
* 241. GERSHWIN, I Got Rhythm

20) LINEAR (EMBELLISHING) DIMINISHED SEVENTH CHORDS
Questions for Analysis
242. HAYDN, Symphony No. 104, Hob. I: 104, Menuet
243. BEETHOVEN, Symphony No. 7, op. 92
244. LISZT, Les Préludes
245. BEETHOVEN, Contradanse
246. TCHAIKOVSKY, Symphony No. 6, op. 74
247. BEETHOVEN, Quartet, op. 18, no. 3
248. SCHUBERT, Sonata, op. 53
249. GOUNOD, Faust, Act IV, no. 18
250. SCHUMANN, Carnaval, op. 9: Arlequin
251. MOZART, Waltz, K. 567
252. WAGNER, Rienzi: Overture
253. BELLINI, I Puritani, Act II, scene 3
254. HAYDN, Symphony No. 104, Hob. I: 104
255. RODGERS, The Girl Friend
256. BRAHMS, Liebeslieder Walzer, op. 52, no. 4

21) NEAPOLITAN TRIAD
Questions for Analysis
257. MOZART, Concerto in A major, K. 488
258. SCHUBERT, Der Müller und der Bach
259. BACH, Ach Gott, vom Himmel sieh' darein
260. BACH, Invention No. 13
261. VERDI, Il Trovatore, Act II, no. 8
262. BRAHMS, Intermezzo in A major, op. 118, no. 2
263. CHOPIN, Prelude, op. 28, no. 20
264. BEETHOVEN, String Quartet, op. 59, no. 2
265. BRAHMS, Wie Melodien zieht es mir, op. 105
266. BEETHOVEN, Quartet, op. 18, no. 3
267. SCHUBERT, Mass in E major: Credo
268. BACH, The Well-Tempered Clavier, Vol. II, Fugue 17
269. CHOPIN, Prelude, op. 28, no. 6

22) AUGMENTED SIXTH CHORDS, SUBMEDIANT DEGREE AS LOWEST NOTE
Questions for Analysis
Model Analysis
Italian
270. BACH, Ich hab' mein' Sach' Gott heimgestellt
271. BEETHOVEN, Bagatelle, op. 119, no. 1
272. BEETHOVEN, Coriolan Overture, op. 62
273. TCHAIKOVSKY, Mazurka
274. SCHUBERT, Quartet, op. 168, D. 112
275. BEETHOVEN, Symphony No. 1, op. 21
German
276. MOZART, Sonata, K. 457
277. BEETHOVEN, Sonata, op. 109
278. HAYDN, Trio, Hob. XV: 25
279. BEETHOVEN, Thirty-Two Variations, Var. 30
280. SIBELIUS, Chanson Sans Paroles, op. 40, no. 2
281. STRAUSS, Der Rosenkavalier, Act I
French
282. MENDELSSOHN, Elijah, op. 70, no. 1
283. SCHUBERT, Mass in G major: Kyrie
284. BACH, Wer nur den lieben Gott lät walten
285. SCHUBERT, Sonata, op. 42
286. VERDI, La Traviata, Act III: Prelude
287. SCHUBERT, Symphony in C major ("The Great")
288. GRIEG, Alfedans, op. 12
289. HERBERT, Gypsy Love Song
Enharmonic German
290. SCHUMANN, Dichterliebe, op. 48, no. 12: "Am leuchtenden Sommermorgen"

23) AUGUMENTED SIXTH CHORDS, OTHER SCALE DEGREES AS LOWEST NOTE
Questions for Analysis
291. MOZART (?), Adagio
292. GRANADOS, Valses Poeticos
293. SCHUBERT, Symphony No. 8 ("Unfinished")
294. MOUSSORGSKY, Songs and Dances of Death, no. 4
295. GLUCK, Orphée, Act I, nos. 6 and 7

24) AUGUMENTED SIXTH CHORDS, OTHER USES
Questions for Analysis
Linear
296. VERDI, Rigoletto, Act I: Prelude
297. TCHAIKOVSKY, Song Without Words
298. TCHAIKOVSKY, Romeo and Juliet
299. SCHUBERT, Waltz
300. BRAHMS, Intermezzo, op. 76, no. 4
301. TCHAIKOVSKY, The Witch
Secondary
302. CHOPIN, Prelude, op. 28, no. 22
303. SCHUBERT, Mass in G major: Benedictus
304. SCHUBERT, Die Allmacht, op. 79, no. 2
Altered Dominants
305. SCHUBERT, Quintet, op. 163
306. LISZT, Liebestraum, no. 3
307. RIMSKY-KORSAKOV, Snowmaiden, Chanson du Bonhomme Hiver
308. GRIEG, Solvejg's Lied

25) OTHER MEANS OF MODULATION
Questions for Analysis
Model Analysis
309. SCHUBERT, Mass in G major: Gloria
310. BRAHMS, Wenn du nur zuweilen lächelst, op. 57, no. 2
311. BEETHOVEN, Symphony No. 5, op. 67
312. SCHUBERT, Waltz, op. 9, no. 14, D. 365
313. MOZART, Die Entführung aus dem Serail, K. 384, Act III, no. 18
314. SCHUMANN, Symphony No. 2, op. 61
315. BEETHOVEN, Symphony No. 7, op. 92
316. HAYDN, String Quartet, op. 76, no. 6
317. BEETHOVEN, Sonata, op. 13
318. BEETHOVEN, Trio, op. 70, no. 1
319. SCRIABIN, Prelude, op. 13, no. 3
320. J. STRAUSS, Die Fledermaus: Overture
321. BRAHMS, Wie bist du meine Königen, op. 32, no. 9
322. SCHUBERT, Mass in A major: Agnus Dei
323. BEETHOVEN, Trio, op. 11
324. RACHMANINOFF, Melodie, op. 3, no. 3
325. SCHUBERT, Symphony No. 8 ("Unfinished")

26) NINTH CHORDS
Questions for Analysis
Dominant Ninths
326. J. STRAUSS, Artist's Life Waltzes, op. 316, no. 3
327. FRANCK, Sonata for Violin and Piano
328. BEETHOVEN, Andante
329. CHOPIN, Valse Brillante, op. 34, no. 1
330. SCHUMANN, Waldesgespräch, op. 39, no. 3
331. CHOPIN, Prelude, op. 28, no. 15
Secondary Dominant Ninths
332. BACH, St. Matthew Passion, no. 78
333. SCHUMANN, Genoveva, op. 81: Overture
334. GRIEG, Grandmother's Minuet, op. 68, no. 2
335. SCHUMANN, Kinderszenen, op. 15, no. 7: Träumerei
Nondominant Ninths
336. GRIEG, Wedding Day at Troldhaugen, op. 65, no. 6
337. MENDELSSOHN, Midsummer Night's Dream, op. 21: Overture
338. FAURÉ, Après un Rêve

27) EXTENDED LINEAR USAGES
Questions for Analysis
Model Analysis
339. CHOPIN, Mazurka, op. 6, no. 1
340. BRAHMS, "Der Tod, das ist die kühle Nacht," op. 96, no. 1
341. WEBER, Euryanthe: Overture
342. BRAHMS, Variations on a Theme by Handel, var. 20
343. FRANCK, Symphony in D minor
344. WAGNER, Lohengrin, Act I, scene 2
345. WAGNER, Wotan's Farewell, Die Walküre, Act III
346. CHOPIN, Prelude, op. 28, no. 9
347. BEETHOVEN, Quartet, op. 18, no. 6
348. BACH, Ein' feste Burg ist unser Gott 336
349. BACH, Es ist genug, so nimm, Herr 337

28) COMPLETE PIECES FOR ANALYSIS III
Checklist for Analysis
350. MOZART, Minuet, K. 355
351. SCHUMANN, Myrthen, op. 25, no. 24
352. MENDELSSOHN, Lieder ohne Wörte, op. 30, no. 3
353. CHOPIN, Mazurka, Op. posth. 67, no. 2
354. SCHUMANN, Phantasiestücke, op. 12, no. 3: Warum?
355. GRIEG, Erotikon
356. LISZT, Il pensieroso, from Années de Pèlerinage
357. R. STRAUSS, Morgen, op. 27, no. 4
358. WAGNER, Der Engel
359. BEETHOVEN, Sieben Variationen: Über das Volkslied: God Save the King
360. MOZART, Symphony No. 40, K. 550
361. BEACH, Phantoms
362. SCOTT JOPLIN, A Breeze from Alabama: March and Two-Step
* 363. Wagner, Prelude to Act I from Tristan und Isolde
364. MOZART, Sonata, K. 309
I. Allegro con spirito
II. Andante, un poco Adagio
III. Allegretto grazioso
* 365. Beethoven, Sonata, op. 2, no. 3

29) EXAMPLES OF COUNTERPOINT
Questions for Analysis
366. BACH, Cantata No. 4: Sinfonia 338
367. BACH, Chorale Prelude on "In Dulci Jubilo" 339
368. BACH, Chorale Prelude on "Christ lag in Todesbanden" 342
369. BRAHMS, Chorale Prelude on "O Wie selig seid ihr doch, ihr Fommen" 343
370. PURCELL, "Thy hand Belinda", from Dido and Aeneas 345
371. BACH, Invention No. 4, BWV 775 349
372. BACH, Invention No. 13, BWV 775 351
373. BACH, Sinfonia 3, BWV 789 352
374. BACH, The Well-Tempered Clavier, Vol. I, Fugue 2 354
375. BACH, The Well-Tempered Clavier, Vol. II, Fugue 9 357
376. MENDELSSOHN, Fugue No. 2, op. 35

PART III: CONTEMPORARY MATERIALS
Model Analysis

30) EXTENDED AND ALTERED TERTIAN HARMONY
Questions for Analysis
377. HANSON, Symphony No. 2, op. 30
378. KABALEVSKY, Sonatina, op. 13
379. HOVHANESS, Mysterious Mountain
380. SHOSTAKOVICH, Prelude, op. 34, no. 24
381. DEBUSSY, Pelléas et Méllisande, Act I, scene 1
382. SCRIABIN, Poem, op. 32, no. 2
383. RAVEL, Valses Nobles et Sentimentales
384. RODGERS, Slaughter on Tenth Avenue
385. ELLINGTON, Prelude to a Kiss
386. DUKE JORDAN, Jordu
387. BERG, Four Songs, op. 2, no. 3
* 388. RASKIN, Laura

31) DIATONIC (CHURCH) MODES
Questions for Analysis
Model Analysis
389. BARTOK, Little Pieces for Children, no. III
390. CHÁVEZ, Ten Preludes, no. 1
391. POULENC, Valse
392. DEBUSSY, Trois Chansons, no. 1
393. KABALEVSKY, Toccatina
394. BRITTEN, Ceremony of Carols, no. 8
395. DEBUSSY, Suite bergamasque, Passepied
396. FLOYD, Susannah, Act II, scene 3
397. STRAVINSKY, Five Fingers: Lento
398. BARTOK, Fourteen Bagatelles, op. 6, no. 4
399. CASELLA, Siciliana
400. ADDERLEY, Work Song

32) PANDIATONICISM AND ADDITIVE HARMONY
Questions for Analysis
401. RAVEL, Mother Goose Suite: The Magic Garden
402. MILHAUD, Touches Blanches
403. COWELL, The Irishman Dances
404. COPLAND, The Young Pioneers
405. BARBER, Excursions, III
406. STRAVINSKY, Petroushka, Danse Russe
407. POULENC, Gloria, Laudamus te

33) EXOTIC (ARTIFICIAL, SYNTHETIC) SCALES
Questions for Analysis
408. MILHAUD, Touches Noires
409. BARTOK, Mikrokosmos, no. 78: Five Tone Scale
410. KODÁLY, Valsette
411. VAUGHAN WILLIAMS, London Symphony
412. DEBUSSY, Préludes, II: Voiles
413. BARTOK, Mikrokosmos, no. 136: Whole Tone Scale
414. DEBUSSY, Pelléas et Mélisande, Act II, scene 1
415. BARTOK, Fourteen Bagatelles, op. 6, no. 10
416. LUTOSLAWSKI, Bucolic, no. 3
417. BARTOK, Mikrokosmos, no. 101: Diminished Fifth
418. BARTOK, Sketches, op. 9, no. 6
419. BARTOK, Fourteen Bagatelles, op. 6, no. 6

34) QUARTAL AND SECUNDAL HARMONY
Questions for Analysis
420. HINDEMITH, Mathis der Maler: Grablegung
421. IVES, Majority
422. KRENEK, Piano Piece, op. 39, no. 5
423. HINDEMITH, Ludus Tonalis, Fuga secunda in G
424. BARTOK, Concerto for Orchestra
425. BERG, Wozzeck, Act II
426. BARTOK, Mikrokosmos, no. 107: Melody in the Mist
427. BERG, Wozzeck, Act II
428. COWELL, Tiger
429. IVES, Majority
430. BRUBECK, Blue Rondo à la Turk

35) POLYHARMONY AND POLYTONALITY
Questions for Analysis
431. HONEGGER, Symphony No. 5
432. SCHUMAN, A Three-Score Set, II
433. KRAFT, Allegro Giocoso
434. STRAVINSKY, The Rake's Progress: Prelude
435. STRAVINSKY, Petroushka, Scene 2
436. MILHAUD, Saudades do Brazil, no 7: Corcovado
437. BARTOK, Forty-Four Violin Duets, no. 33
438. BRUBECK, Strange Meadowlark

36) FREE ATONALITY
Questions for Analysis
439. SCHÖNBERG, Drei Klavierstücke, op. 11, no. 1
440. SCHÖNBERG, Klavierstücke, op. 19, no. 2
441. SCHÖNBERG, Pierrot Lunaire, op. 21, no. 1: Mondestrunken
442. WEBERN, Five Movements for String Quartet, op. 5, no. 4
443. BARTOK, Mikrokosmos, no. 144: Minor Seconds, Major Sevenths
444. BARTOK, Fourth String Quartet
445. BERGER, Two Episodes, I

37) TWELVE-TONE SERIALISM
Questions for Analysis
Model Analysis
446. KRENEK, Dancing Toys, op. 83, no. 1
447. SCHÖNBERG, Suite für Klavier, op. 25: Gavotte
448. DALLAPICCOLA, Cinque Frammenti di Saffo
449. WEBERN, Drei Lieder, op. 25, no. 1

38) MUSIC SINCE 1945
Questions for Analysis
450. STOCKHAUSEN, Klavierstücke, no. 2
451. LUTOSLAWSKI, String Quartet (1965)
452. PENDERECKI, String Quartet, no. 2
453. CRUMB, Madrigals, Book IV
454. DRUCKMAN, Valentine, for solo contrabass
455. ROUSE, Valentine
456. HORNE, Six Short Studies, Sixteenth Notes

39) COMPLETE PIECES FOR ANALYSIS IV
Suggestion for Analysis
457. RAVEL, Sonatine, Mouvt II
458. DEBUSSY, Pour le Piano: Sarabande
459. DEBUSSY, Préludes, X: La Cathédrale engloutie
460. MILHAUD, Saudades do Brazil, No. 6: Gavea
461. PROKOFIEV, Classical Symphony, op. 25
462. PROKOFIEV, March from The Love of Three Oranges
463. HINDEMITH, Ludus Tonalis, Fuga undecima in B (Canon)
464. RUGGLES, Evocations, no. 1
465. SCHÖNBERG, Suite für Klavier, op. 25: Menuett
466. PORTER, Night and Day
467. GERSHWIN, Porgy and Bess, "Summertime"
468. STRAVINSKY, Sonata for Two Pianos, II: Theme with Variations
469. HINDEMITH, Piano Sonata, No. 2
470. MACMILLAN, Piano Sonata, I

Appendix A. Checklist for Analysis and Sample Analysis
Appendix B. For Further Reference
Appendix C. Textbook Correlation Chart

Index of Composers and Their Compositions
Index of Complete Pieces

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