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Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part I covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part II presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis.
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, Intgral, 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 Schacbter (2006). His articles and reviews have appeared in journals and books including. The Music Forum, Music Theory Spectrum, Indiana Theory Review, Intgral, Schenker Studies 2, and Trends in Schenkerian Research.
Table of Contents
|Basic Principles||p. 1|
|Beethoven, Piano Sonata, Op. 2, No. 1,I||p. 4|
|Melody and Counterpoint||p. 15|
|Some Characteristics of Melody||p. 15|
|Structural Melody||p. 34|
|Bass Lines and Harmonic Structure||p. 41|
|Tonic Harmony (T Class)||p. 42|
|Intermediate Harmonies (Int Class)||p. 46|
|Dominant Harmony (D Class)||p. 51|
|Larger Contexts||p. 56|
|The Imaginary Continuo||p. 66|
|Chord Prolongation: Summary||p. 68|
|Linear Techniques||p. 75|
|Linear Progressions||p. 75|
|Linear Intervallic Patterns||p. 86|
|The Neighbor Note||p. 97|
|Linear Intervallic Patterns: Summary||p. 99|
|Tonal Structure||p. 106|
|Notational Symbols||p. 106|
|Tonal Structure and the Ursatz||p. 109|
|The Bass Arpeggiation (Bassbrechung)||p. 113|
|The Fundamental Line (Urlinie)||p. 113|
|Structural Levels||p. 115|
|The Principle of Interruption||p. 116|
|More on the Ursatz||p. 120|
|Techniques of Melodic Prolongation||p. 127|
|The Initial Ascent||p. 127|
|The Arpeggiated Ascent||p. 129|
|Motion into an Inner Voice||p. 135|
|Motion from an Inner Voice||p. 137|
|Voice Exchange||p. 139|
|Shift of Register||p. 142|
|Descending and Ascending Register Transfer||p. 142|
|Reaching Over||p. 147|
|Cover Tone||p. 152|
|The Phrygian$$$||p. 156|
|Mixture of ScaleDegree$$$||p. 159|
|Techniques in Combination||p. 160|
|Some Basic Elaborations of Fundamental Structures||p. 164|
|Mozart, Piano Sonata, K. 283, I, bars 1-16||p. 165|
|Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8||p. 170|
|Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16||p. 176|
|Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8||p. 181|
|Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16||p. 187|
|Mozart, Piano Concerto, K. 488, II, bars 1-12||p. 194|
|Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47||p. 199|
|Some Points for Review||p. 204|
|Analytical Applications||p. 207|
|One-Part Forms||p. 212|
|Bach, Prelude in C major (WTC I)||p. 212|
|Schubert, "Wandrers Nachtlied"||p. 218|
|Schumann, "Lieb' Liebchen"||p. 225|
|Binary Forms||p. 233|
|Handel, Suite No. 5 in D minor, HWV436, Menuetto||p. 233|
|Bach, "Little" Prelude in C major, BWV933, Menuetto||p. 238|
|Corelli, Violin Sonata, Op. 5, No. 10, Gavotte||p. 241|
|Bach, Flute Sonata No. 2, BWV1033, Minuet 1||p. 244|
|Haydn, Piano Sonata, Hob. XVI/43, Minuet 2||p. 248|
|Mozart, Symphony No. 35, K. 385, Trio||p. 252|
|Auxiliary Cadences||p. 256|
|Ternary Forms and Rondo||p. 261|
|Beethoven, Bagatelle, Op. 119, No. 1||p. 261|
|Mendelssohn, Song Without Words, Op. 62, No. 1||p. 271|
|Schubert, Moment Musical, Op. 94, No. 2||p. 281|
|Haydn, Piano Sonata, Hob. XVI/37, III||p. 295|
|Brahms, Intermezzo, Op. 119, No. 2: Some Observations on Form and Structure||p. 303|
|Sonata Principle||p. 315|
|Clementi, Sonatina, Op. 36, No. 1, I||p. 316|
|Mozart, Symphony No. 35 ("Haffner"), K. 385, II||p. 322|
|Mozart, Piano Sonata, K. 457,1||p. 332|
|Some Common Tonal Patterns and Procedures||p. 358|
|Binary Forms||p. 359|
|Ternary Forms||p. 360|
|Sonata Principle||p. 365|
|Prolongational Spans||p. 373|
|Mixture and Large-Scale Tonal Plans||p. 379|
|Correspondence Between Patterns and Musical Examples||p. 381|
|Appendix introduction to Graphic Notation||p. 384|
|Open Noteheads||p. 385|
|Slurs and Filled-in Noteheads||p. 385|
|Broken Ties||p. 390|
|Stems with Flags||p. 390|
|Diagonal Lines||p. 391|
|Diagonal Lines and Beams||p. 392|
|Rhythmic Notation at Lower Levels||p. 395|
|Roman Numerals||p. 396|
|Sample Graphic Analyses for Study||p. 398|
|Examples from Free Composition||p. 401|
|Selected Bibliography||p. 403|
|Index of Musical Examples||p. 411|
|Subject Index||p. 413|
|Table of Contents provided by Ingram. All Rights Reserved.|