Music for Analysis: Examples from the Common Practice Period and the Twentieth Century / Edition 4

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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: 9780534255060
  • Publisher: Cengage Learning
  • Publication date: 8/1/1995
  • Series: Music Series
  • Edition description: Older Edition
  • Edition number: 4
  • Pages: 448
  • Product dimensions: 9.09 (w) x 10.96 (h) x 0.69 (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

Pt. I Diatonic materials
1 Tonic triad
2 Dominant triad in root position
3 Dominant seventh and ninth in root position
4 Subdominant triad in root position
5 Cadential tonic six-four chord
6 Tonic, subdominant, and dominant triads in first inversion
7 Supertonic triad
8 Inversions of the dominant seventh chord
9 Linear (embellishing) six-four chords
10 Submediant and mediant triads
11 Leading tone triad
12 Variant qualities of diatonic triads
13 Supertonic seventh chord
14 Leading tone seventh chord
15 Other diatonic seventh chords
16 Complete pieces for analysis I
Pt. II Chromatic materials
17 Secondary (applied, borrowed) dominants
18 Modulation to closely related keys
19 Complete pieces for analysis II
20 Linear (embellishing) diminished seventh chords
21 Neapolitan triad
22 Augmented sixth chords, submediant degree as lowest note
23 Augmented sixth chords, other scale degrees as lowest note
24 Augmented sixth chords, other uses
25 Other means of modulation
26 Ninth chords
27 Extended linear usages
28 Complete pieces for analysis III
29 Examples of counterpoint
Pt. III Contemporary materials
30 Extended and altered tertian harmony
31 Diatonic (church) modes
32 Pandiatonicism and additive harmony
33 Exotic (artificial, synthetic) scales
34 Quartal and secundal harmony
35 Polyharmony and polytonality
36 Free atonality
37 Twelve-tone serialism
38 Music since 1945
39 Complete pieces for analysis IV
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