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Materials and Techniques of Twentieth-Century Music,9780131930803
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Materials and Techniques of Twentieth-Century Music

by
Edition:
3rd
ISBN13:

9780131930803

ISBN10:
013193080X
Format:
Hardcover
Pub. Date:
1/1/2006
Publisher(s):
Prentice Hall

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Summary

KEY BENEFIT: This book provides the most comprehensive analytical approach to 20th-Century Music available from Impressionism to recent trends.It covers music from the early 1900s through such movements as Minimalism and the Neoromanticism of the 1990's, and includes chapters on rhythm, form, electronic and computer music, and the roles of chance and choice in Twentieth-Century music.For individuals interested in music theory and harmony; and an analysis and history of 20th-century music.

Table of Contents

Preface xv
The Twilight of the Tonal System
1(21)
Introduction
1(1)
Diatonic Tonal Music
1(1)
Chromatic Tonal Music
2(1)
Chromatic Harmony
3(8)
Chromaticism and Musical Form
11(2)
Suspended Tonality and Atonality
13(9)
Summary
14(1)
Notes
14(1)
Exercises
15(7)
Scale Formations in Twentieth-Century Music
22(24)
Introduction
22(1)
Five-Note Scales
23(1)
Six-Note Scales
24(3)
Seven-Note Scales: The Diatonic Modes
27(3)
Other Seven-Note Scales
30(1)
Eight-Note Scales
31(3)
The Chromatic Scale
34(1)
Microtonal Scales
34(2)
Other Possibilities
36(10)
Summary
37(1)
Notes
37(1)
Exercises
38(8)
The Vertical Dimension: Chords and Simultaneities
46(28)
Introduction
46(1)
Conventional Tertian Sonorities
47(2)
Tertian Chords with Added Notes
49(3)
Tertian Chords with Split Chord Members
52(2)
Open-5th Chords
54(1)
Quartal and Quintal Chords
55(4)
Secundal Chords
59(3)
Mixed-Interval Chords
62(1)
Whole-Tone Chords
63(1)
Polychords
64(10)
Summary
66(1)
Notes
67(1)
Exercises
67(7)
The Horizontal Dimension: Melody and Voice Leading
74(24)
Introduction
74(1)
Tonal Melody
74(2)
Some New Stylistic Features of Twentieth-Century Melody
76(5)
Some Aspects of Melodic Organization
81(2)
Voice Leading in Twentieth-Century Music
83(15)
Summary
92(1)
Notes
92(1)
Exercises
93(5)
Harmonic Progression and Tonality
98(16)
Introduction
98(1)
Traditional Approaches to Harmonic Progression
98(1)
New Approaches to Harmonic Progression
99(2)
Nonharmonic Music
101(1)
Establishing a Tonal Center
102(1)
Tertian and Nontertian Pitch-Centricity
103(2)
Polytonality
105(3)
Atonality
108(1)
Pandiatonicism
108(6)
Summary
109(1)
Notes
110(1)
Exercises
110(4)
Developments in Rhythm
114(26)
Introduction
114(1)
Syncopation
115(1)
Written Rhythm and Perceived Rhythm
116(1)
Changing Time Signatures
117(1)
Nontraditional Time Signatures
118(2)
Polymeter
120(4)
Ametric Music
124(4)
Added Values and Nonretrogradable Rhythms
128(2)
Tempo Modulation and Polytempo
130(3)
Serialized Rhythm and Isorhythm
133(7)
Summary
135(1)
Notes
136(1)
Exercises
136(4)
Form in Twentieth-Century Music
140(17)
Introduction
140(1)
Binary Form
141(1)
Ternary Form
141(4)
Rondo Forms
145(1)
Other Part Forms
146(1)
Sonata Form
147(2)
Sectional Variations
149(1)
Continuous Variations
149(1)
Canon and Fugue
150(2)
Proportion: The Golden Mean
152(1)
Nonthematic Delineators of Musical Form
152(2)
Nonorganic Approaches to Musical Form
154(3)
Summary
154(1)
Notes
155(1)
Exercises
155(2)
Imports and Allusions
157(18)
Introduction
157(1)
Influences From the Past
157(7)
Influences From Folk Music, Jazz, and Rock
164(6)
Music From Other Cultures
170(5)
Summary
172(1)
Notes
172(1)
Exercises
173(2)
Nonserial Atonality
175(23)
Introduction
175(1)
Characteristics of Atonal Music
176(2)
Pitch-Class Sets
178(1)
Octave Equivalence, Transpositional Equivalence, and Normal Order
178(4)
Inversional Equivalence and Best Normal Order
182(3)
Prime Forms and Set Classes
185(1)
The Interval-Class Vector
186(2)
Forte Labels
188(1)
Subsets
189(1)
Aggregates
190(1)
More About Segmentation
191(7)
Summary
192(1)
Notes
192(1)
Exercises
193(5)
Classical Serialism
198(24)
Introduction
198(1)
Basic Terminology
199(2)
The Twelve-Tone Matrix
201(1)
A First Example
202(2)
Analyzing a Row
204(3)
Compositional Uses of the Row
207(2)
Set Succession
209(2)
Combinatoriality
211(2)
The Analysis of Serial Music
213(9)
Summary
214(1)
Notes
214(1)
Exercises
214(8)
Timbre and Texture: Acoustic
222(23)
Introduction
222(1)
New Timbral Effects From Traditional Instruments
222(1)
Wind Instruments
223(2)
Stringed Instruments
225(3)
Percussion Instruments
228(3)
The Piano
231(1)
The Voice
231(1)
Instrumentation and Orchestration
232(4)
Traditional Textures and Compound Textures
236(2)
Pointillism, Stratification, and Sound-Mass
238(1)
Texture as a Form Determinant
239(6)
Summary
240(1)
Notes
240(1)
Exercises
241(4)
Timbre and Texture: Electronic
245(19)
Introduction
245(1)
Concrete Music
246(1)
The Classical Electronic Music Studio
247(3)
Digital Synthesis
250(3)
The Development of Midi
253(1)
Samplers, Personal Computers, and Recent Trends in Digital Synthesis
254(2)
Tape and Instrument, Live Performance, and Interactive Computer Music
256(1)
Notation of Electronic Music
257(7)
Summary
259(1)
Notes
259(1)
Exercises
259(5)
Serialism After 1945
264(20)
Introduction
264(1)
Integral Serialism
265(10)
Integral Serialism in Perspective
275(1)
Other Aspects of Serialism
276(3)
Music After Serialism
279(5)
Summary
279(1)
Notes
280(1)
Exercises
280(4)
The Roles of Chance and Choice in Twentieth-Century Music
284(17)
Introduction
284(1)
Chance in Composition
285(1)
Choice in Performance
286(2)
Some Examples of Performer Indeterminacy
288(6)
Graphic Scores and Text Scores
294(3)
Music on the Fringe
297(4)
Summary
298(1)
Notes
298(1)
Exercises
298(3)
Minimalism and Beyond
301(18)
Introduction
301(1)
Minimalism
301(6)
Beyond Minimalism
307(12)
Summary and Conclusion
316(1)
Notes
316(1)
Exercises
317(2)
Appendix: Prime Forms, Forte Labels, and Interval-Class Vectors 319(4)
Bibliography 323(5)
Index 328


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