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Graduate Review of Tonal Theory A Recasting of Common-Practice Harmony, Form, and Counterpoint

ISBN-10: 0195376986
ISBN-13: 9780195376982
Edition: 2010
List price: $62.95 Buy it from $48.59
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Description: This text is the first graduate music theory review designed specifically to address the one-semester course for beginning graduate students in music. Based on The Complete Musician, the text is more than a shortened version of an undergraduate  More...

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Book details

List price: $62.95
Copyright year: 2010
Publisher: Oxford University Press, Incorporated
Publication date: 3/27/2009
Binding: Hardcover
Pages: 240
Size: 8.25" wide x 10.25" long x 0.75" tall
Weight: 1.958
Language: English

This text is the first graduate music theory review designed specifically to address the one-semester course for beginning graduate students in music. Based on The Complete Musician, the text is more than a shortened version of an undergraduate tonal harmony text; it addresses students as colleagues and explores analytical applications that are appealing and practical, extending beyond the undergraduate level. The text provides a means to discuss the perception andcognition, the analysis and performance, and the composition and reception of common-practice tonal music. The clarity and brevity of this text relies on the presentation of only those crucial concepts and procedures that are manifested in the vast majority of tonal pieces. The only text exercises are at chapter ends: two- to three-page "Analytical extensions," which introduce one new topic through one or two works from the repertoire, and then develop the topic in a model analysis. Appendixes will include keyboard exercises, model composition strategies and assignments, and sample solutions. An accompanying workbook is organized by chapter into discrete assignments, each progressing from short, introductory analytical and writing exercises to more-involved tasks. Included is a DVD of recordings by the Eastman students and faculty of musical examples from the text and analytical exercises from the workbook.

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
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 Analytical Application
Tonality and Hierarchy in Bach's Violin Partita No. 3, 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 Generic Intervals Tips for Identifying
Generic Intervals Naming Specific Intervals Transforming Intervals: Augmented and Diminished Intervals
Interval Inversion Generating
All Intervals Enharmonic
Intervals Consonant and Dissonant
Intervals Melody: Characteristics, Writing, and Listening Melodic Dictation
Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint
First-Species Counterpoint
Contrapuntal Motions 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 and Synthesis of Terms and Concepts
Triads, Inversions, Figured Bass, and Harmonic Analysis
Triads Voicing Triads: Spacing and Doubling Triad Inversion
Figured Bass Analyzing and Composing
Using Figured Bass 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
Summary of Part 1
Merging Melody And Harmony
Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency
Consonance and Dissonance
The Importance of Textural Analysis
Sample Analyses 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
An Analytical In

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