Analysis of Tonal Music A Schenkerian Approach

ISBN-10: 0195102320

ISBN-13: 9780195102321

Edition: 1998

List price: $61.95
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Designed as an introductory text for upper-level undergraduates and beginning graduate students, Analysis of Tonal Music: A Schenkerian Approach explains the fundamental principles of Schenkerian analysis by focusing on the music itself. It can be used in one- or two-semester courses on Schenkerian theory and will also appeal to individuals interested in Schenker's work. The book assumes no prior knowledge of the subject, but it does require a background in harmony and voice leading; a familiarity with species counterpoint is also desirable. The authors develop Schenkerian techniques through the practical analysis of specific compositions, an approach that parallels the evolution of Schenker's work. The book explains structural principles in actual composition rather than through models and formulas, and teaches students how to think about and critically examine compositions in ways that will inform their understanding and performance of great compositions of Western art music. The first part of the volume provides the foundation for the analysis of complete pieces and includes chapters on melody, bass-line structures, linear techniques, and the essential properties of the Ursatz and its basic elaborations; the presentation of complete compositions in Part II is organized by formal category. The concluding chapter summarizes the main theoretical issues of Schenker's approach. The book includes over 200 analytical graphs, musical examples, and a bibliography. Analysis of Tonal Music: A Schenkerian Approach provides a unique and accessible introduction to Schenkerian analytical ideas and shows how they can be applied toward a better understanding of tonal music.
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Book details

List price: $61.95
Copyright year: 1998
Publisher: Oxford University Press, Incorporated
Publication date: 1/8/1998
Binding: Hardcover
Pages: 432
Size: 7.25" wide x 10.50" long x 1.00" tall
Weight: 2.046
Language: English

Allen Cadwallader is Professor of Music Theory at the Oberlin College Conservatory of Music. He is the editor of Essays from the Fourth International Schenker Symposium, Volume 1 (2008) and Trends in Schenkerian Research (1990). His articles have appeared in Music Theory Spectrum, Music Analysis, Int�gral, Theory and Practice, and Journal of Music Theory. David Gagn� is Associate Professor of Music Theory and the Music Theory Coordinator at Queens College, City University of New York. He is the coeditor of Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (2006). His articles and reviews have appeared in journals and books including The Music Forum, Music Theory Spectrum, Indiana Theory Review, Int�gral, Schenker Studies 2, and Trends in Schenkerian Research.

Basic Principles
Beethoven, Piano Sonata, Op. 2, No. 1, I
Melody and Counterpoint
A Sample Analysis
Bass Lines and Harmonic Structure
Tonic Harmony (T Class)
Intermediate Harmonies (Int Class)
Dominant Harmony (D Class)
Larger Contexts
The Imaginary Continuo
Chord Prolongation: Summary
Linear Techniques
Linear Progressions
Linear Intervallic Patterns
The Neighbor Note
Linear Intervallic Patterns: Summary
Tonal Structure
Notational Symbols
Tonal Structure and the Ursatz
The Bass Arpeggiation (Bassbrechung)
The Fundamental Line (Urlinie)
Structural Levels
The Principle of Interruption
More on the Ursatz
Techniques of Melodic Prolongation
The Initial Ascent
The Arpeggiated Ascent
Motion into an Inner Voice
Motion from an Inner Voice
Voice Exchange
Shift of Register
Descending and Ascending Register Transfer
Reaching Over
Cover Tone
The Phrygian 2
Mixture of Scale Degree 3
Some Basic Elaborations of Fundamental Structures
Mozart, Piano Sonata, K. 283, I, bars 1-16
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16
Mozart, Piano Concerto, K. 488, II, bars 1-12
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47
Some Points for Review
Analytical Applications
One-Part Forms
Bach, Prelude in C major (WTC I)
Schubert, "Wandrers Nachtlied"
Schumann, "Lieb' Liebchen"
Binary Forms
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2
Mozart, Symphony No. 35, K. 385, Trio
Bach, Flute Sonata No. 2, Minuet 1
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte
Handel, Suite No. 5 in D minor, HWV 436, Menuetto
Bach, "Little" Prelude in C major, BWV 933, Menuetto
Auxiliary Cadences
Ternary Forms and Rondo
Beethoven, Bagatelle, Op. 119, No. 1
Mendelssohn, Song Without Words, Op. 62, No. 1
Schubert, Moment Musical, Op. 94, No. 2
Haydn, Piano Sonata, Hob. XVI/37, III
Sonata Principle
Clementi, Sonatina, Op. 36, No. 1, I
Mozart, Symphony No. 35 ("Haffner"), K. 385, II
Mozart, Piano Sonata, K. 457, I
Some Common Tonal Patterns
Binary Forms
Ternary Forms
Sonata Principle
Prolongational Spans
Mixture and Large-Scale Tonal Plans
Correspondence Between Patterns and Musical Examples
Introduction to Graphic Notation
Open Noteheads
Slurs and Filled-in Noteheads
Broken Ties
Stems with Flags
Diagonal Lines
Diagonal Lines and Beams
Rhythmic Notation at Lower Levels
Roman Numerals
Sample Graphic Analyses for Study
Examples from Free Composition
Selected Bibliography
Index of Musical Examples
Subject Index
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