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Music for Analysis Examples from the Common Practice Period and the Twentieth Century

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ISBN-10: 0195155130

ISBN-13: 9780195155136

Edition: 5th 2002 (Revised)

Authors: Thomas E. Benjamin, Michael Horvit, Robert Nelson

List price: $74.95
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Intended for a typical 2 or 3 year theory sequence taught at all four year collages, universities and conservatories as well as many two year schools. Required course for all music majors. Music theory is in depth analysis that requires a text and an anthology of music - the musical scores that illustrate the theory. MUSIC FOR ANALYSIS, fith edition is the anthology and can accompany any theory text intended for the theory sequence.
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Book details

List price: $74.95
Edition: 5th
Copyright year: 2002
Publisher: Oxford University Press, Incorporated
Publication date: 11/20/2000
Binding: Paperback
Pages: 448
Size: 9.25" wide x 10.75" long x 0.75" tall
Weight: 2.2
Language: English

Thomas E. Benjamin has recently retired as Chair of the Department of Music Theory at the Peabody Conservatory of the Johns Hopkins University. A composer, conductor, performer, and music theorist with more than 40 compositions published and recorded, he also holds fellowships and awards from the MacDowell Colony, Yaddo, and the National Endowment for the Arts.

Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music, University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan, and Israel. He has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern, and Transcontinental, and has CDs with the Albany label. Horvit's awards include the Martha Baird Rockefeller Award as well as the National Endowment for the Arts.

Preface Suggestions for Using This Book Part I: Diatonic Materials 1. Tonic Triad 2. Dominant Triad in Root Position 3. Dominant Seventh and Ninth in Root Position 4. Subdominant Triad in Root Position 5. Cadential Tonic Six-Four Chord 6. Tonic, Subdominant, and Dominant Triads in First Inversion 7. Supertonic Triad 8. Inversions of the Dominant Seventh Chord 9. Linear (Embellishing) Six-Four Chords 10. Submediant and Mediant Triads 11. Leading Tone Triad 12. Variant Qualities of Diatonic Triads 13. Supertonic Seventh Chord 14. Leading Tone Seventh Chord 15. Other Diatonic Seventh Chords 16. Complete Pieces for Analysis I Part II: Chromatic Materials 17. Secondary (Applied, Borrowed) Dominants 18. Modulation to Closely Related Keys 19. Complete Pieces for Analysis II 20. Linear (Embellishing) Diminished Seventh Chords 21. Neapolitan Triad 22. Augmented Sixth Chords, Submediant Degree as Lowest Note 23. Augumented Sixth Chords, Other Scale Degrees as Lowest Note 24. Augumented Sixth Chords, Other Uses 25. Other Means of Modulation 26. Ninth Chords 27. Extender Linear Usages 28. Complete Pieces for Analysis III 29. Examples of Formal Counterpoint from the Works of J.S. Bach Part III: Twentieth-Century Materials 30. Extended and Altered Tertian Harmony 31. Diatonic (Church) Modes 32. Pandiatonicism and Additive Harmony 33. Exotic (Artificial, Synthetic) Scales 34. Quartal and Secundal Harmony 35. Polyharmony and Polytonality 36. Free Atonality 37. Twelve-Tone Serialism 38. Music Since 1945 39. Complete Pieces for Analysis IV Appendix A: Checklist for Analysis and Sample Analysis Appendix B: Textbook Correlation Chart Index of Composers and Their Compositions