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

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

by Thomas Benjamin, Robert Nelson, Michael Horvit
     
 

ISBN-10: 053425506X

ISBN-13: 9780534255060

Pub. Date: 08/01/1995

Publisher: Cengage Learning

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

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.

Product Details

ISBN-13:
9780534255060
Publisher:
Cengage Learning
Publication date:
08/01/1995
Series:
Music Series
Edition description:
Older Edition
Pages:
448
Product dimensions:
9.09(w) x 10.96(h) x 0.69(d)

Table of Contents

Preface. Suggestions for Using This Book. PART ONE: 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. PART TWO: 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 Formal Counterpoint from the Works of J. S. Bach. PART THREE: TWENTIETH-CENTURY 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. ''Interval'' Music. 37. Twelve-Tone Serialism. 38. Recent Compositional and Notational Devices. 39. Complete Pieces for Analysis IV. Appendices: A. Checklist for Analysis andSample Analysis. B. Textbook Correlation Chart. Index of Composers.

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