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

by Benjamin, Thomas E.; Horvit, Michael E.; Nelson, Robert

• ISBN13: 9780195155136
• ISBN10: 0195155130
• Edition: 5th
• Format: Paperback
• Copyright: 2000-11-20
• Publisher: Oxford University Press

Summary

An essential partner to your music theory text, Music for Analysis, 5/e offers more than 400 pieces of music from the baroque period to the present. Selected by Thomas Benjamin, Michael Horvit, and Robert Nelson--three nationally respected composers and music theory teachers--these musical selections illustrate standard usage and idiomatic procedures. With more than 50 complete pieces and most selections of at least period length, this anthology is the perfect vehicle for analysis of style, musical idiom, small forms, tonal harmony, and contemporary techniques. The fifth edition features "Suggestions for Discussion" and "Questions for Analysis," and new selections including more pieces by Brahms, Wagner, Schumann, Liszt, and Bach. A comprehensive, up-to-the minute, 20th-century section now includes additional pieces by Schonberg, Webern, Sessions, Rouse, Horne, Prokofiev, and Macmillan.

Table of Contents

Part I: Diatonic Materials1. Tonic Triad2. Dominant Triad in Root Position3. Dominant Seventh and Ninth in Root Position4. Subdominant Triad in Root Position5. Cadential Tonic Six-Four Chord6. Tonic, Subdominant, and Dominant Triads in First Inversion7. Supertonic Triad8. Inversions of the Dominant Seventh Chord9. Linear (Embellishing) Six-Four Chords10. Submediant and Mediant Triads11. Leading Tone Triad12. Variant Qualities of Diatonic Triads13. Supertonic Seventh Chord14. Leading Tone Seventh Chord15. Other Diatonic Seventh Chords16. Complete Pieces for Analysis IPart II: Chromatic Materials17. Secondary (Applied, Borrowed) Dominants18. Modulation to Closely Related Keys19. Complete Pieces for Analysis II20. Linear (Embellishing) Diminished Seventh Chords21. Neapolitan Triad22. Augmented Sixth Chords, Submediant Degree as Lowest Note23. Augumented Sixth Chords, Other Scale Degrees as Lowest Note24. Augumented Sixth Chords, Other Uses25. Other Means of Modulation26. Ninth Chords27. Extender Linear Usages28. Complete Pieces for Analysis III29. Examples of Formal Counterpoint from the Works of J.S. BachPart III: Twentieth-Century Materials30. Extended and Altered Tertian Harmony31. Diatonic (Church) Modes32. Pandiatonicism and Additive Harmony33. Exotic (Artificial, Synthetic) Scales34. Quartal and Secundal Harmony35. Polyharmony and Polytonality36. Free Atonality37. Twelve-Tone Serialism38. Music Since 194539. Complete Pieces for Analysis IVAppendix A: Checklist for Analysis and Sample AnalysisAppendix B: Textbook Correlation ChartIndex of Composers and Their Compositions