The Musician's Guide to Theory and Analysis / Edition 2

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Overview

Emphasizing real music and music-making, The Musician’s Guide to Theory and Analysis gives students the hands-on tools they need to learn how music works.
Theoretically current and pedagogically innovative, the Musician’s Guide series uses the phrase model approach to show students how music works in context. With a focus on real music literature that students know and play, it shows how music theory relates directly to practice and performance. The Musician’s Guide to Theory and Analysis includes all topics essential to first- and second-year theory for music majors, from fundamentals to post-tonal theory and analysis.
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Product Details

  • ISBN-13: 9780393930818
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 12/20/2010
  • Series: Musician's Guide Series
  • Edition description: Second Edition
  • Edition number: 2
  • Pages: 839
  • Sales rank: 70,729
  • Product dimensions: 7.72 (w) x 9.54 (h) x 1.38 (d)

Meet the Author

Jane Piper Clendinning is professor of music theory at the Florida State University College of Music. She has published articles reflecting her interests in the history of theory, theory and analysis of twentieth-century music, computer pitch recognition, and computer applications in music. She teaches courses in eighteenth-century counterpoint, music since World War II, popular and world music analysis, music theory pedagogy, and accelerated undergraduate music theory. She has served as the chair of the Advanced Placement Music Theory Test Development Committee and as an AP reader, and is a regular consultant at AP Workshops and Summer Institutes.

Elizabeth West Marvin is professor of music theory and former dean of academic affairs at the Eastman School of Music. She has published in the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance. She teaches courses in music theory pedagogy, music cognition, and analytical techniques for performers. Her articles and reviews appear in numerous journals, including Music Perception, Music Theory Spectrum, Journal of Music Theory, and Theory and Practice. She is past president of the Society for Music Theory and is currently a member of the Advanced Placement Music Theory Test Development Committee and serves as an AP reader. Marvin is the most recent recipient of the Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship.

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Table of Contents

Part I Building a Musical Vocabulary: Basic Elements of Pitch and Rhythm
1 Pitch and Pitch Class 2
2 Beat, Meter, and Rhythm: Simple Meters 19
3 Pitch Collections, Scales, and Major Keys 38
4 Minor Keys and the Diatonic Modes 54
5 Beat, Meter, and Rhythm: Compound Meters 78
6 Pitch Intervals 94
7 Triads and Seventh Chords 112
Part II Linking Musical Elements in Time
8 Intervals in Action (Two-Voice Composition) 134
9 Melodic and Rhythmic Embellishment in Two-Voice Composition 153
10 Notation and Scoring 172
11 Voicing Chords in Multiple Parts: Instrumentation 183
Part III The Phrase Model
12 The Basic Phrase Model: Tonic and Dominant Voice-Leading 198
13 Embellishing Tones 220
14 Chorale Harmonization and Figured Bass 235
15 Expanding the Basic Phrase: Leading-Tone, Predominant, and 6/4 Chords 250
16 Further Expansions of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad 276
17 The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody 298
18 Diatonic Sequences 323
19 Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords 350
20 Phrase Rhythm and Motivic Analysis 372
Part IV Further Expansion of the Harmonic Vocabulary
21 Tonicizing Scale Degrees Other Than V 396
22 Modulation to Closely Related Keys 418
23 Binary and Ternary Forms 440
24 Color and Drama in Composition: Modal Mixture and Chromatic Mediants and Submediants 457
25 Chromatic Approaches to V: The Neapolitan Sixth and Augmented Sixths 478
Part V Musical Form and Interpretation
26 Popular Song and Art Song 508
27 Variation and Rondo 530
28 Sonata-Form Movements 551
29 Chromaticism 574
Part VI Into the Twentreth Century
30 Modes, Scales, and Sets 614
31 Music Analysis with Sets 635
32 Sets and Set Classes 653
33 Ordered Segments and Serialism 671
34 Twelve-Tone Rows and the Row Matrix 685
35 New Ways to Organize Rhythm, Meter, and Duration 698
36 New Ways to Articulate Musical Form 725
37 The Composer's Materials Today 745
Appendixes
1 Try it Answers A3
2 Glossary A55
3 Guidelines for Part-Writing A77
4 Ranges of Orchestral Instruments A81
5 Set-Class Table A85
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Posted April 11, 2011

    The Best Available

    This text uses the Phrase Model technique of explaining how tonal music is structured. It is as accurate as Aldwell & Schachter's Harmony and Voice-Leading but it is much more undergraduate-friendly in its language. Please consider this text instead of Benward (terrible, inaccurate) or Kostka/Payne (lacking, misleading). Don't just use the text you had when you were an undergraduate; think for yourself and examine this book.

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