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Graduate Review of Tonal Theory A Recasting of Common-Practice Harmony, Form, and Counterpoint,9780195376982
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Graduate Review of Tonal Theory A Recasting of Common-Practice Harmony, Form, and Counterpoint



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Oxford University Press
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This is the edition with a publication date of 3/27/2009.

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Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces. Distinctive Features *Integrates two- to three-page "Analytical Extensions" at the end of each chapter, which introduce an additional topic through one or two works from the repertoire, and then develop the topic in a model analysis *Synthesizes the essential concepts of music theory and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum *Includes an in-text DVD with recordings by Eastman students and faculty of musical examples from the text and analytical exercises from the workbook Also Available: A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8) This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises to more involved tasks. The workbook also includes an appendix of keyboard exercises.

Author Biography

Steven G. Laitz is Associate Professor of Music Theory and Affiliate Faculty Member in Chamber Music at the Eastman School of Music, and serves on the piano faculty at the Chautauqua Institution. He has received various teaching awards, has presented and published work on nineteenth-century music and pedagogy, and is the author of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, Second Edition (OUP, 2007).
Christopher Bartlette is Assistant Professor of Music Theory at Baylor University. His research in music cognition and performance has led to articles and presentations at national and international conferences in music theory, perception, and cognition.

Table of Contents

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
Table of Contents provided by Publisher. All Rights Reserved.

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