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Analysis of Tonal Music A Schenkerian Approach,9780199732470
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Analysis of Tonal Music A Schenkerian Approach



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Oxford University Press
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This is the 3rd edition with a publication date of 9/3/2010.

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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.

Author Biography

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

Prefacep. xi
Basic Principlesp. 1
Introductionp. 3
Beethoven, Piano Sonata, Op. 2, No. 1,Ip. 4
Melody and Counterpointp. 15
Some Characteristics of Melodyp. 15
Counterpointp. 21
Structural Melodyp. 34
Bass Lines and Harmonic Structurep. 41
Tonic Harmony (T Class)p. 42
Intermediate Harmonies (Int Class)p. 46
Dominant Harmony (D Class)p. 51
Larger Contextsp. 56
The Imaginary Continuop. 66
Chord Prolongation: Summaryp. 68
Linear Techniquesp. 75
Linear Progressionsp. 75
Linear Intervallic Patternsp. 86
The Neighbor Notep. 97
Linear Intervallic Patterns: Summaryp. 99
Tonal Structurep. 106
Notational Symbolsp. 106
Tonal Structure and the Ursatzp. 109
The Bass Arpeggiation (Bassbrechung)p. 113
The Fundamental Line (Urlinie)p. 113
Structural Levelsp. 115
The Principle of Interruptionp. 116
More on the Ursatzp. 120
Techniques of Melodic Prolongationp. 127
The Initial Ascentp. 127
The Arpeggiated Ascentp. 129
Unfoldingp. 132
Motion into an Inner Voicep. 135
Motion from an Inner Voicep. 137
Voice Exchangep. 139
Shift of Registerp. 142
Descending and Ascending Register Transferp. 142
Couplingp. 145
Superpositionp. 147
Reaching Overp. 147
Cover Tonep. 152
Substitutionp. 154
The Phrygian$$$p. 156
Mixture of ScaleDegree$$$p. 159
Techniques in Combinationp. 160
Some Basic Elaborations of Fundamental Structuresp. 164
Mozart, Piano Sonata, K. 283, I, bars 1-16p. 165
Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8p. 170
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16p. 176
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8p. 181
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16p. 187
Mozart, Piano Concerto, K. 488, II, bars 1-12p. 194
Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47p. 199
Some Points for Reviewp. 204
Analytical Applicationsp. 207
One-Part Formsp. 212
Bach, Prelude in C major (WTC I)p. 212
Schubert, "Wandrers Nachtlied"p. 218
Schumann, "Lieb' Liebchen"p. 225
Binary Formsp. 233
Handel, Suite No. 5 in D minor, HWV436, Menuettop. 233
Bach, "Little" Prelude in C major, BWV933, Menuettop. 238
Corelli, Violin Sonata, Op. 5, No. 10, Gavottep. 241
Bach, Flute Sonata No. 2, BWV1033, Minuet 1p. 244
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2p. 248
Mozart, Symphony No. 35, K. 385, Triop. 252
Auxiliary Cadencesp. 256
Ternary Forms and Rondop. 261
Beethoven, Bagatelle, Op. 119, No. 1p. 261
Mendelssohn, Song Without Words, Op. 62, No. 1p. 271
Schubert, Moment Musical, Op. 94, No. 2p. 281
Haydn, Piano Sonata, Hob. XVI/37, IIIp. 295
Brahms, Intermezzo, Op. 119, No. 2: Some Observations on Form and Structurep. 303
Sonata Principlep. 315
Clementi, Sonatina, Op. 36, No. 1, Ip. 316
Mozart, Symphony No. 35 ("Haffner"), K. 385, IIp. 322
Mozart, Piano Sonata, K. 457,1p. 332
Some Common Tonal Patterns and Proceduresp. 358
Introductionp. 358
Binary Formsp. 359
Ternary Formsp. 360
Sonata Principlep. 365
Prolongational Spansp. 373
Mixture and Large-Scale Tonal Plansp. 379
Correspondence Between Patterns and Musical Examplesp. 381
Appendix introduction to Graphic Notationp. 384
Open Noteheadsp. 385
Slurs and Filled-in Noteheadsp. 385
Beamsp. 388
Broken Tiesp. 390
Stems with Flagsp. 390
Diagonal Linesp. 391
Diagonal Lines and Beamsp. 392
Rhythmic Notation at Lower Levelsp. 395
Roman Numeralsp. 396
Sample Graphic Analyses for Studyp. 398
Examples from Free Compositionp. 401
Selected Bibliographyp. 403
Index of Musical Examplesp. 411
Subject Indexp. 413
Table of Contents provided by Ingram. All Rights Reserved.

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