Complete Musician An Integrated Approach to Tonal Theory, Analysis, and Listening

ISBN-10: 0195301080

ISBN-13: 9780195301083

Edition: 2nd 2007 (Revised)

Authors: Steven G. Laitz
List price: $91.95
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Description: Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum, The Complete Musician, Second Edition, relies on a diverse repertoire and innovative exercises to explicitly connect theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms. Features of the Second Edition: * Enhanced and supplemented by five music DVDs--two packaged with the text, two with Student Workbook I, and one with Student Workbook II. These DVDs contain a total of more than sixteen hours of high-quality recorded examples--from solo piano to full orchestra--of the examples and exercises in the text and workbooks, performed by soloists and ensembles from the Eastman School of Music and the Rochester Philharmonic Orchestra. In addition, examples and exercises are included on the DVDs in downloadable MP3 format. * Significantly revised in order to improve general ordering between large topics (for example, the pre-dominant function is introduced earlier) and organization within chapters (particularly in Parts 1-4) * Offers new topics and expansions: a new chapter (16) devoted exclusively to the motive; new sections on analytical decision-making through Gestalt techniques (Chapters 2 and 7); lead sheet notation (Chapter 6); harmonizing florid melodies (beginning in Chapter 9); and an expanded section on musical texture and harmonic analysis (Chapter 6) * Introduces numerous analyses throughout the book, including thirteen "Model Analysis" sections, that provide extended analyses of canonical pieces * Includes more than 200 new examples, many from wind and brass literature * Explanations and definitions have been carefully revised for clarity, with added summary charts and step-by-step procedures * Offers new types of exercises--in both the text and in the workbooks--including exercises for single-line instrumentalists, listening exercises, and more graduated exercises * Workbook exercises are now structured in a consistent format of discrete assignments (four to eight assignments per chapter) that usually fit on one or two sheets of paper for ease in handing in to the instructor. Each assignment contains a variety of exercises, crafted for students with a wide range of abilities. Supplementary exercises are also included for further practice. * Expanded Instructor's Manual adds model solutions for more than 200 analysis and part writing exercises; each chapter includes teaching guidelines and supplementary analytical, dictation, playing, and writing exercises

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Book details

List price: $91.95
Edition: 2nd
Copyright year: 2007
Publisher: Oxford University Press, Incorporated
Publication date: 6/18/2007
Binding: Hardcover
Pages: 880
Size: 8.00" wide x 10.25" long x 1.25" tall
Weight: 4.004
Language: English

György Buzsáki is a Board of Governors Professor of Neuroscience at Rutgers University. His primary research interests are in brain oscillations, sleep and memory, and with more than 200 papers published on these topics, he is among the top 250 most-cited neuroscientists. Dr. Buzsáki is a Fellow of the American Association for the Advancement of Science and honorary member of the Hungarian Academy of Sciences, and he sits on the editorial boards of several leading neuroscience journals.Steven G. Laitz is Associate Professor of Music Theory at the Eastman School of Music at the University of Rochester. He is also an Affiliate Faculty Member in the Chamber Music Department at Eastman. Dr. Laitz is the current editor of the Journal of Music Theory Pedagogy .

Preface
Terms and Concepts are included at the end of every chapter
The Foundation Of Tonal Music
The Pitch Realm: Tonality, Notation, and Scales
Charting Musical Sound: Staff and Clef
Pitch and Pitch Class
The Division of Musical Space: Intervals
Accidentals
Scales
Enharmonicism
Scale Degree Numbers and Names
Specific Scale Types: Major and Minor
Building Scales in the Major Mode
Key Signatures and the Circle of Fifths
Building Scales in the Minor Mode
Key Signatures in Minor
Relative Major and Minor Keys
Model Analysis: Tonality and Hierarchy in Bach's Violin Partita No3, Prelude
Pulse, Rhythm, and Meter
Rhythm and Durational Symbols
Meter
Accent in Music
Temporal Accents
Nontemporal Accents
Beat Division and Simple and Compound Meters
The Meter Signature
Asymmetrical Meters
Clarifying Meter
More Rhythmic Procedures
Metrical Disturbance
Intervals and Melody
Naming Intervals
Tips for Identifying Generic Intervals
Specific Interval Size
Transforming Intervals: Augmented and Diminished Intervals
Interval Inversion
Generating All Intervals
Enharmonic Intervals
Consonant and Dissonant Intervals
Melody: Characteristics, Writing, and Listening
Model Analysis: Mozart, Piano Sonata in A minor, K310
Melodic Dictation
Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint
First-Species Counterpoint
Contrapuntal Motions
Beginning and Ending the Counterpoint
Rules and Guidelines for First-Species (1:1) Counterpoint
Second Species Counterpoint
Weak-Beat Consonance
Weak-Beat Dissonance
Beginning and Ending Second-Species Counterpoint
Rules and Guidelines for Second-Species Counterpoint
Hearing Two-Voice Counterpoint
Review
Triads, Inversions, Figured Bass, and Harmonic Analysis
Triads
Voicing Triads: Spacing and Doubling
Triad Inversion
Figured Bass
Analyzing and Composing Using Figured Bass
Additional Figured-Bass Conventions: Abbreviations and Chromaticism
Triads and the Scale: Harmonic Analysis
Roman Numerals
Introduction to Harmonic Analysis
Harmony and the Keyboard
Seventh Chords, Musical Texture, and Harmonic Analysis
Musical Characteristics of Seventh Chords
Inverted Seventh Chords
Analytical Tips
Seventh Chords and Harmonic Analysis
Lead-Sheet Notation
Musical Texture
Model Analyses: Beethoven Violin Sonata No3 in Eb major, Op12, No3, and Mozart, "Madamina" from Don Giovanni, Act 1, Scene 4
Summary of Part 1
Merging Melody And Harmony
Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency
Consonance and Dissonance
The Importance of Textual Analysis
Model Analyses: Clementine and God Save the King
Melodic Fluency
Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading
The Cadence
Introduction to Voice Leading
Texture and Register
Three Techniques to Create Voice Independence Within a Four-Voice Texture
Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing
Summary of Voice-Leading Rules and Guidelines
The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7
The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction
Embellishment and Reduction
The Dominant Seventh and Chordal Dissonance Part Writing with the Dominant Seventh Chord
Model Analysis: Beethoven, Piano Sonata in D minor, Op31, No2 "Tempest"
Harmonizing Florid Melodies
Summary
Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
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
Writing and Playing First-Inversion Triads
Passing Tones in the Bass: viio6
Tonic Expansion with an Arpeggiating Bass: IV6
Dominant Expansion with Passing Tones: IV6
Combining First-Inversion Chords
Summary
More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh Chords
V7 and Its Inversions
Voice Leading Inversions of V7
Combining Inversions of V7
Compositional Impact on Contrapuntal Chords
Leading Tone Seventh Chords: viio7 and viio7
Elaboration and Reduction
Summary of Part 2P
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