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

Name: Complete Musician An Integrated Approach to Tonal Theory, Analysis, and Listening
Price: 15.95 USD
Availability: InStock
ISBN: 9780195301083

ISBN-10: 0195301080

ISBN-13: 9780195301083

Edition: 2nd 2007 (Revised)

Authors: Steven G. Laitz

List price: $91.95

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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

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: 10.12" wide x 8.19" long x 1.42" tall
Weight: 4.004
Language: English

GyÃ¶rgy BuzsÃ¡ki 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. BuzsÃ¡ki 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.…



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