The complete musician: an integrated approach to tonal theory, analysis, and listening

Beginning with music fundamentals, this text covers all the topics necessaryfor a thorough understanding of undergraduate music theory by focusing on music in context. Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class.DISTINCTIVE FEATURES* Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations* Explores not only standard four-voice harmony, but also other musical domains including melody, counterpoint, and a multitude of textures; the result is a text with applicability and relevance to all musicians* Includes almost 4,500 musical examples from the common-practice repertoire in the text and workbooks, more than 90 percent of which are on the CDs included with the text and workbooks--nearly twenty hours of music on MP3 files (allmusic is performed, recorded, and engineered at Eastman)NEW TO THIS EDITION* Revised with beginning students in mind, this edition contains more basic exercises as well as solutions to selected exercises in the text. Longer and more difficult exercises have been moved to the workbooks.* Streamlined and reorganized with fewer chapters (31, down from 37), the text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive (covered in chapters 15, 16, and 23 of the previous edition)--to the appendices, where instructors may access them as their individual curriculum permits, or omit them altogether.* This edition offers a new presentation of fundamentals: the first three chapters provide a review and synthesis for students with experience in music fundamentals, and a 75-page appendix introduces key concepts for students with little or no experience. This allows instructors to choose the pacing that best suits their class and individual students.* Numerous musical examples include guiding annotations, with textural and structural reductions of more complex examples.* This edition presents more than 250 new literature excerpts and complete works for analysis and dictation, including new instrumental combinations.* New appendices offer further support: Appendix 5 covers terms and abbreviations used in the text and Appendix 6 includes selected answers to exercises inthe text.SUPPORT PACKAGE* The new Companion Website (www.oup.com/us/laitz) provides instructor and student resources that include supplementary drill exercises.* The Instructor's Manual provides solutions to all of the dictation exercises, sample solutions for more than 250 writing (e.g., figured bass and melody harmonization) and analytical exercises, supplementary examples, exercises, andteaching guidelines that detail effective strategies for each chapter.* The two workbooks have been significantly reorganized: Workbook 1 is now dedicated to written and analytical activities, including figured bass, melody harmonization, model composition, and analysis. Workbook 2 covers musicianship skills. Exercises within each chapter of Workbook 2 are organized by activity type: singing arpeggiations of the chord being studied, then within a tune from the literature; two-part singing; dictation; keyboard;then instrumental application. INDICE: PART 1: THE FOUNDATION OF TONAL MUSIC CHAPTER 1: MUSICAL SPACE ANDTIME Tonality in Context: Bach's Violin Partita no. 3, Prelude Specifics of the Pitch Realm Pitches and Pitch Classes Scales Keys Intervals Enharmonic Intervals Consonant and Dissonant Intervals The Metrical Realm Meter Signature Asymmetrical Meters Clarifying Meter More Rhythmic Procedures Accent in Music >> Temporal Accents >> Nontemporal Accents Metrical Disturbance >> Syncopation >> Hemiola CHAPTER 2: HARNESSING SPACE AND TIME: INTRODUCTION TO MELODY AND TWO-VOICE COUNTERPOINT Melody: Characteristics and WritingControlling Consonance and Dissonance: Introduction to Two-Voice CounterpointFirst-Species Counterpoint >> Contrapuntal Motions >> Beginning and Ending First-Species Counterpoint >> Rules and Guidelines for First-Species (1:1) Counterpoint Second-Species Counterpoint >> Weak-Beat Consonance >> Weak-Beat Dissonance >> More on Perfect Consonances >> Beginning and Ending Second-Species Counterpoint >> Rules and Guidelines for Second-Species Counterpoint CHAPTER 3: MUSICAL DENSITY: TRIADS, SEVENTH CHORDS, AND TEXTURE Adding Voices: Triads and Seventh Chords Triads >> Figured Bass >> Triads and the Scale: Harmonic Analysis >> Harmony and the Keyboard Seventh Chords Musical Texture Analytical Method PART 2: MERGING MELODY AND HARMONY CHAPTER 4: WHEN HARMONY, MELODY, AND RHYTHM CONVERGETonal Hierarchy in Music Embellishing Tones The Importance of Context in Analysis Analytical Interlude Melodic Fluency Melody as Harmony CHAPTER 5: TONIC AND DOMINANT AS TONAL PILLARS AND INTRODUCTION TO VOICE LEADING Characteristicsand Effect of V and I The Cadence Introduction to Voice Leading Texture and Register Three Techniques to Create Voice Independence within a Four-Voice Texture >> Technique 1: Smoothness >> Technique 2: Registral Independence >> Technique 3: Contrapuntal Independence Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing >> Omitted Chord Tones >> Doubled Chord Tones >> Spacing and Voicing Summary of Voice-Leading Rules and Guidelines CHAPTER 6: THE IMPACT OF MELODY, RHYTHM, AND METER ON HARMONY; INTRODUCTION TO V7 The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction Embellishment Reduction The Dominant Seventh and Chordal Dissonance Derivation and New Melodic Possibilities Part Writing with the Dominant Seventh Chords An Analytical Interlude Harmonizing Florid Melodies Summary CHAPTER 7: CONTRAPUNTAL EXPANSIONS OF TONIC AND DOMINANT: SIX-THREE CHORDS Chordal Leaps in the Bass: I6 and V6 Neighbor Tones in the Bass (V6) Second Level Analysis Passing Tones in the Bass: viio6 Tonic Expansionwith an Arpeggiating Bass: IV6 Dominant Expansion with Passing Tones: IV6 Combining First-Inversion Chords Summary CHAPTER 8: MORE CONTRAPUNTAL EXPANSIONS:INVERSIONS OF V7, INTRODUCTION TO LEADING TONE SEVENTH CHORDS, AND REDUCTION AND ELABORATION V7 and Its Inversions V6/5 V4/3 V4/2 Voice-Leading Inversions of V7 Combining Inversions of V7 Compositional Impact of Contrapuntal Chords Leading Tone Seventh Chords: viio7 and vii<strike>o</strike>7 VoiceLeading for viio7 Vii<strike>o</strike>7 Summary of Contrapuntal Expansions Reduction and Elaboration: Compositional and Performance Implications >> Reduction >> Elaboration Summary of Part 2 PART 3: A NEW HARMONIC FUNCTION, THE PHRASE MODEL, AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS CHAPTER 9: THE PRE-DOMINANT FUNCTION AND THE PHRASE MODEL The Pre-Dominant Function The Subdominant (IV in Major, iv in Minor) The Supertonic (ii in Major, iio in Minor) Pre-Dominants and the Stepwise Ascending Bass Part Writing for Pre-Dominants Extending the Pre-Dominant Introduction to the Phrase Model Analytical Interlude CHAPTER 10: ACCENTED AND CHROMATIC EMBELLISHING TONES The Accented Passing Tone (APT) The Chromatic Passing Tone (CPT) The Accented Neighbor Tone (AN) The Chromatic Neighbor Tone (CN) The Appoggiatura (APP) The Suspension (S) Labeling Suspensions Writing Suspensions Additional Suspension Techniques The Anticipation (ANT) The Pedal (PED) Summary of the Most Common Embellishing Tones CHAPTER 11: SIX-FOUR CHORDS, REVISITING THE SUBDOMINANT, ANDSUMMARY OF CONTRAPUNTAL EXPANSIONS Unaccented Six-Four Chords Pedal Passing Arpeggiating Accented Six-Four Chords Cadential >> Additional Uses of Cadential Six-Four Chord ---- As Part of Half Cadences and Authentic Cadences ---- Preceding V7 ---- Within a Phrase ---- Evaded Cadences: Elision and Extension ---- Triple Meter ---- Writing Six-Four Chords Revisiting the Subdominant Summary of Harmonic Paradigms Harmonizing Florid Melodies CHAPTER 12: THE PRE-DOMINANT REFINES THE PHRASE MODEL Nondominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5) Analyzing Nondominant Seventh Chords Embedding the Phrase Model Contrapuntal Cadences Expanding the Pre-Dominant >> Passing Chord between iiand ii6 (or between ii6 and ii) >> Passing Chord between IV and IV6 (orbetween IV6 and IV) >> Passing Chord Moving from IV6 (IV6/5) to ii6/5 >> Restate Tonic Material Up a Step Subphrases Composite Phrases Summary of Part 3 PART 4: NEW CHORDS AND NEW FORMS CHAPTER 13: THE SUBMEDIANT: A NEW DIATONIC HARMONY, AND FURTHER EXTENSIONS OF THE PHRASE MODEL The Submediant TheSubmediant as Bridge in the Descending-Thirds Progression The Submediant in the Descending-Circle-of-Fifths Progressions The Submediant as Tonic Substitutein Ascending-Seconds Progressions Voice Leading for the Submediant >> The Descending-Thirds Progression, I-vi-IV >> The Descending-Fifths Progression, I-vi-ii (or I-vi-ii6) >> The Ascending-Seconds Progression, V-viContextual Analysis Tonic and Dominant Embellish the Submediant Apparent Submediants The Step Descent in the Bass CHAPTER 14: THE MEDIANT, THE BACK-RELATING DOMINANT, AND A SYNTHESIS OF DIATONIC HARMONIC RELATIONSHIPS The Mediant (iii in Major; III in Minor) The Mediant in Arpeggiations A Special Case: Preparing the III Chord in Minor Voice Leading for the Mediant More Contextual Analysis: The Back-Relating Dominant and Synthesis: Root Motion Principles The Back-Relating Dominant Synthesis: Root Motion Principles >> Compositional Application CHAPTER 15: THE PERIOD Aspects of Melody and Harmony in Periods Representing Form: The Formal Diagram Sample Analysis of Periods and Some Analytical Guidelines Summary for Analyzing Periods Composing Periods CHAPTER 16: OTHERSMALL MUSICAL STRUCTURES: SENTENCES, DOUBLE PERIODS, AND MODIFIED PERIODS TheSentence: An Alternative Musical Structure The Double Period Modified PeriodsExtensions Phrase Group Asymmetrical Periods CHAPTER 17: HARMONIC SEQUENCES Components and Types of Sequences The Descending-Second (D2) Sequence >> The Descending-Second Sequence in Inversion The Descending-Third (D3) Sequence>> The Descending-Third Sequence in Inversion The Ascending-Second (A2)Sequence Another Ascending-Second Sequence: A2 (-3/+4) Sequences with Diatonic Seventh Chords >> Sequences with Inversions of Seventh Chords Writing Sequences Summary of Diatonic Sequences Summary of Part 4 PART 5: FUNCTIONAL CHROMATICISM CHAPTER 18: APPLIED CHORDS Applied Dominant Chords Applied Chords in Inversion Tonicized Half Cadences Recognizing Applied Chords Voice Leading for Applied Chords Applied Leading-Tone Chords Incorporating Applied Chords within Phrases An Example Composition Sequences with Applied Chords The D2 (-5/+4) Sequence The D3 (-4/+2) Sequence The A2 (-3/+4) Applied-Chord Sequence Writing Applied-Chord Sequences Summary of Diatonic and Applied-Chord Sequences CHAPTER 19: TONICIZATION AND MODULATION Extended Tonicization Modulation CloselyRelated Keys Analyzing Modulations Writing Modulations Modulation in the Larger Context The Sequence as a Tool in Modulation CHAPTER 20: BINARY FORM AND VARIATIONS Binary Form Simple Sectional Binary Simple Continuous Binary Rounded Sectional Binary Rounded Continuous Binary Balanced Binary Form Summary of Binary Form Types Variation Form Continuous Variations Sectional Variations Summary of Part 5 Answers to Exercise 20.1 PART 6: EXPRESSIVE CHROMATICISM CHAPTER 21: MODAL MIXTURE Altered Pre-Dominant Harmonies: iio and iv Application: Musical Effects of Melodic Mixture Altered Submediant Harmony: bVI Altered Tonic Harmony: i Altered Mediant Harmony: bIII Voice Leading for Mixture Harmonies Chromatic Stepwise Bass Descents Plagal Motions Modal Mixture, Applied Chords, and Other Chromatic Harmonies Summary CHAPTER 22: EXPANSION OF MODAL MIXTURE HARMONIES: CHROMATIC MODULATION AND THE GERMAN <i>LIED</i> ChromaticPivot-Chord Modulations An Analytical Interlude: Schubert's Waltz in F major Writing Chromatic Modulations Unprepared and Common-Tone Modulations Analytical Challenges Modal Mixture and the German <i>Lied</i> An Analytical Interlude: Schumann's "Waldesgesprach" Analytical Payoff: The Dramatic Role of bVI CHAPTER 23: THE NEAPOLITAN CHORD (bII): CHARACTERISTICS, EFFECTS, AND BEHAVIOR Writing the Neapolitan Chord Expanding bII The Neapolitan in SequencesThe Neapolitan as a Pivot Chord CHAPTER 24: THE AUGMENTED SIXTH CHORD: CHARACTERISTICS, DERIVATION, AND BEHAVIOR Types of Augmented Sixth Chords Writing Augmented Sixth Chords BVI and the Ger6/5 Chord Augmented Sixth Chords as Part of PD Expansions The Augmented Sixth Chord and Modulation: Reinforcement The Augmented Sixth Chord as Pivot in Modulation Summary of Part 6 PART 7: LARGE FORMS: TERNARY, RONDO, SONATA CHAPTER 25: TERNARY FORM Characteristics Transitions and Retransitions Da Capo Form: Compound Ternary Form Da Capo Aria Minuet-Trio Form Ternary Form in the Nineteenth Century CHAPTER 26: RONDO Context The Classical Rondo Five-Part Rondo Coda, Transitions, and Retransitions Compound Rondo Form Seven-P

• ISBN: 978-0-19-974278-3
• Editorial: Oxford University
• Encuadernacion: Cartoné
• Páginas: 896
• Fecha Publicación: 09/06/2011
• Nº Volúmenes: 1
• Idioma: Inglés