Musician's Guide to Theory and Analysis / Edition 3

by Jane Piper Clendinning

Overview

Clendinning (Florida State U. School of Music) and Marvin (Eastman School of Music) provide an introduction to the rudiments of notation and meter as well as thorough coverage of advanced topics such as counterpoint, chromaticism, and 20th-century theory. They include questions for review, numerous exercises, sidebars which often connect analysis to composition and performance, and examples drawn from a diverse repertoire of classical and popular music. The book is meant to be used in conjunction with the workbook (0-393-97653-X, $25), anthology (0-393-92576-5, $31.25), and recordings on three CDs (0-393-10604-7, $28.75). Includes appendixes with exercise answers and glossary. Annotation ©2004 Book News, Inc., Portland, OR

Product Details

ISBN-13:	2900393263052
Publisher:	Norton, W. W. & Company, Inc.
Publication date:	06/01/2016
Series:	Musician's Guide Series
Edition description:	Third Edition
Pages:	1008
Product dimensions:	8.30(w) x 10.30(h) x 1.30(d)

About 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. Her current research interests include theory and analysis of popular and world musics. 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 is past president of the Society for Music Theory and is currently co-chair of the Advanced Placement Music Theory Test Development Committee. Marvin is the 2012 recipient of the Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship.

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

Editorial Reviews

"It attempts . . . to put the music first and the theory second."

Brad Osborn (University of Kansas)

"It is a complete undergraduate education in music theory, and then some, in one package."

Peter Silberman (Ithaca College)

"It is . . . accessible to every music major in a conservatory or university setting and chock-full of practical musical insights. I have had more success teaching with this text than with any other."

Christopher Doll (Rutgers University)

"Including video micro-lectures is fantastic."

Greg McCandless (Full Sail University)

Including video micro-lectures is fantastic.--Greg McCandless (Full Sail University)

It attempts . . . to put the music first and the theory second.--Brad Osborn (University of Kansas)

It is a complete undergraduate education in music theory, and then some, in one package.--Peter Silberman (Ithaca College)

It is . . . accessible to every music major in a conservatory or university setting and chock-full of practical musical insights. I have had more success teaching with this text than with any other.--Christopher Doll (Rutgers University)

From the Publisher