This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire.
The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
Bruce Benward has been widely regarded as one of the most gifted music theory pedagogues since his textbooks first appeared in the 1960s, and has exerted a wide influence on the teaching of music theory both through his writings and through the generation of teachers that he taught. He recently retired from the University of Wisconsin at Madison.
Compared to the last theory textbook i had this one is atrocious
Compared to the last theory textbook i had this one is atrocious. I would not recommend it for beginners in theory, let alone someone who even has a slight amount of knowledge about music. It is often very vague, gives non-consistant examples and throughout the class i constantly had to strain through each exercise in order to understand what it was talking about and would finally get it by teaching myself what the chapter was all along trying to poorly convey. For example in chapter 6 it explains what a melodic motive is by saying it's "a repeated pitch pattern. It usually recurs accompanied by the same or similar rhythmic pattern." So for the first example i was a little confused as to why the pitches CHANGED from one measure to another, and then i realized that it was because the rhythm was the same but the pitches of each motif dropped down every measure. However on the next page (Pg120), the example threw me off because the same thing is happening with the dropping down of the pitches and repeated rhythms until the second to last measure where the motif has 4 EIGTH notes instead of the previous 2 repeated motives which used quarter notes... and the book was saying that the motif was repeated. I had to further analyze the motif to see that it was probably still considered a "repeated motif" because the eight notes were used in the motif in that measure to add a lower neighbor tone... ok that's fine but the book had no indication of that and i was once again confused and wasted about 5 minutes trying to figure that out. And there's a ton of that throughout the book. So like i said, very vague, i do not suggest it, but unfortunately it was required for my class.
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