Tonality and Design in Music Theory, Volume 2

by Henry, D. J.; Rogers, Michael, Retired

• ISBN13: 9780130811202
• ISBN10: 0130811203
• Edition: 1st
• Format: Spiral Bound
• Copyright: 2005-02-16
• Publisher: Pearson

Summary

Following the well-established tradition of comprehensive musicianship, this book presents lessons and assignments not only in basic tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, written essays, and a survey of 20th and 21st century music.It emphasizes Western musical art, with ample material on the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works.For individuals who want to perform as studio musicians, enter the field of music education, follow an applied teaching career, or pursue graduate studies.

Table of Contents

Preface	xi
Using the Text	xiii
UNIT 1 FORM AND TECHNIQUE	1	(104)
Variation Forms	7	(50)
Continuous Variations	8	(17)
The Ground Bass (Basso Ostinato)	8	(3)
Passacaglia	11	(4)
Chaconne	15	(4)
Analyzing Continuous Variations	19	(6)
Sectional Variations	25	(16)
Theme and Variations	25	(2)
Beethoven, Variations on ``God Save the King,''	27	(14)
Figured Bass	41	(2)
Figured Bass Realization	42	(1)
The Figured Bass System	43	(10)
Realization in Four-Part Vocal Style	47	(1)
Realization With Soprano Given	47	(1)
Realization Without Given Soprano	48	(5)
Projects	53	(4)
Canon and Fugue	57	(48)
The Round	57	(3)
Canon	60	(4)
Development of the Fugue	64	(8)
Imitative Counterpoint (Points of Imitation)	64	(2)
Canzona and Ricercar	66	(6)
Fugue	72	(16)
The Subject	73	(2)
Characteristics of Fugue Subjects	75	(1)
The Answer	76	(10)
The Countersubject	86	(2)
Sectional Divisions of a Fugue	88	(13)
The Statement Section	88	(1)
The Middle Section	89	(3)
The Final Section	92	(2)
Stretto	94	(7)
Projects	101	(4)
UNIT 2 CHROMATICISM	105	(70)
Borrowed and Augmented-Sixth Chords	113	(32)
Borrowed Chords	113	(13)
Borrowed Chords in Minor	117	(3)
Diminished Sevenths as Color Chords	120	(6)
Augmented Sixth Chords	126	(15)
Italian Augmented Sixth	128	(3)
German Augmented Sixth	131	(4)
French Augmented-Sixth Chord	135	(6)
Projects	141	(4)
Neapolitan and Other Chromatic Resources	145	(30)
The Neapolitan	145	(12)
Chromatic and Enharmonic Modulation	157	(14)
Modulation by Borrowed Common Chord	157	(3)
Enharmonic Modulation	160	(2)
The Diminished-Seventh Chord as Enharmonic Pivot	162	(3)
German Augmented Sixth as Enharmonic Pivot	165	(2)
Neapolitan Chord as Enharmonic Pivot	167	(4)
Projects	171	(4)
UNIT 3 GRAND FORMS	175	(110)
Sonata Form	185	(46)
Sonata Structure	185	(21)
Exposition	186	(7)
Development	193	(1)
Recapitulation	194	(12)
Sonata Form in the Nineteenth Century	206	(21)
Introduction	206	(4)
Key Relationships in Nineteenth-Century Sonata Movements	210	(3)
Coda	213	(14)
Projects	227	(4)
The Rondo	231	(54)
The Baroque Rondeau	231	(3)
Rondo in the Classical Era	234	(10)
Five-Part (Second) and Seven-Part (Third) Rondos	234	(10)
The Classical Rondo	244	(14)
Sonata-Rondo	258	(17)
Projects	275	(10)
UNIT 4 TONAL MUSIC IN TRANSITION	285	(150)
Dissolution of the Common-Practice Style	291	(44)
A Renaissance of Melody	292	(3)
Nonchord Tones	292	(3)
Alteration of Traditional Materials	295	(11)
Absolute and Program Music	295	(1)
Orchestral Color	296	(2)
Distant Modulation	298	(1)
Decreased Emphasis on the Dominant	299	(3)
Tonal Ambiguity	302	(4)
Expanded Tertian Resources	306	(9)
Ninth Chords	306	(3)
Third Relation	309	(6)
Nonfunctional Harmony	315	(14)
Augmented and Other Ambiguous Triads	315	(3)
Parenthetical Harmony	318	(4)
Chordal Mutation	322	(7)
Projects	329	(6)
Impressionism	335	(50)
The ``Impressionists,''	335	(1)
Claude Debussy and His Influence	336	(1)
Melody	336	(13)
Modes and Exotic Scales	337	(3)
Synthetic Scales	340	(1)
The Whole-Tone Scale	341	(2)
Pentatonic Scale	343	(1)
The Chromatic Scale	344	(5)
Harmonic Organization	349	(14)
Pedal	349	(2)
Cadences	351	(2)
Parallelism (Planing)	353	(4)
Pandiatonicism	357	(6)
Analyzing Impressionist Harmony	363	(6)
Seventh, Ninth, and Added-Tone Chords	363	(3)
Quartal Harmony	366	(3)
Form, Rhythm, and Other Parameters	369	(12)
Impressionist Formal Design	369	(2)
Rhythm and Meter	371	(3)
Orchestration	374	(7)
Projects	381	(4)
National and Ethnic Resources	385	(50)
Nationalism	386	(11)
Influences from Folk and National Rhythms	386	(5)
Innovative Melody	391	(6)
Tonal Harmony Revitalized	397	(15)
Expanded Tertian Harmony	398	(9)
Neo-Classicism	407	(5)
New Musical Systems	412	(17)
Harmonic Systems	412	(3)
Simultaneity	415	(7)
New Concepts in Rhythm and Timbre	422	(7)
Projects	429	(6)
UNIT 5 THE CONTEMPORARY ERA	435	(138)
Atonality	441	(38)
Atonality	441	(1)
Relationships in Atonal Music	442	(14)
The Set	442	(1)
Transposition	443	(1)
Inversion	444	(3)
Inclusion	447	(3)
Set Complementation	450	(6)
Analyzing Atonal Music	456	(5)
Interval Vector	456	(5)
Pitch-Class Sets	461	(12)
Pitch Class	461	(3)
Normal Order	464	(4)
Schoenberg, Op. 19, No. 6	468	(5)
Projects	473	(6)
Serial Composition	479	(46)
Serial Technique	479	(5)
The Tone Row	480	(4)
Transformations of the Row	484	(13)
Transposition	484	(2)
Retrograde	486	(1)
Inversion	486	(1)
Retrograde Inversion	487	(1)
The Matrix	487	(10)
Flexibility in the Serial Method	497	(17)
Free Use of the Row	497	(5)
Rows with More Than and Fewer Than Twelve Tones	502	(1)
Combinatoriality	502	(4)
Extended Serialization	506	(8)
Projects	514	(11)
Music After 1950	525	(48)
Electronic Music	526	(8)
Sound Manipulation in Electronic Music	526	(1)
Performance and Notation Considerations	527	(5)
Electronic Synthesis	532	(1)
Digital Synthesis	533	(1)
Indeterminacy	534	(12)
Composer Indeterminacy	535	(3)
Performer Indeterminacy	538	(8)
Color and Timbre	546	(8)
Microtonal Music	549	(5)
Minimalism	554	(4)
The New Tonality	558	(6)
Quotation	562	(2)
The Future	564	(4)
Projects	568	(5)
Appendix A Tuning and Temperament	573	(4)
Pythagorean Tuning	574	(1)
Mean-Tone Temperament	575	(1)
Twelve-Tone Equal Temperament	576	(1)
Appendix B Instrument Ranges and Transpositions	577	(4)
Instrument Ranges	577	(4)
Credits	581	(4)
Indexes	585

Excerpts

Music Theory is the study of how and why music works. This suggests that understanding the subject consists of something more than data bits, definitions, or a body of prescribed knowledge. While this set of textbooks offers plenty of instruction about names, labels, and an appropriate vocabulary for effective communication among musicians, we have designed the series to offer a good deal more. Without being dangerously speculative, we have tried to propose, where possible, the reasonswhich lie behind principles and procedures of aesthetically stimulating musical constructions--that is, an explanation for just how the rules came about and how they have influenced changing musical styles. We have also approached theoretical study from the listener''s perspective, so that our discussions and analyses refer not only to the printed notation of scores, but also to the reactions of educated audiences to the individual sounds and larger patterns of music. By alluding frequently to the aesthetic involvement of music and the psychological manipulation of master composers, for example, we have endeavored to enrich cognitive and perceptual experiences; these are simultaneously the byproducts of informed listening and the foundation of performing, composing, and teaching music. Presented in proper manner and spirit, these books can enable theory teachers to not only foster intellectual development and aural growth for their students, but also to advance beyond that stage into the ambitious realms of changing opinions and attitudes, reworking beliefs and habits, judging sides of a controversy, and refining a set of values. Students may come to develop a sense of wonder about the mysteries and forces of music itself. In other words, training in music theory can support learning how to think and learning how to respond--the twin sides of a true musical education. We draw from the well-established tradition of Comprehensive Musicianship in choosing and organizing topics for these books. Lessons and assignments are presented not only in basis tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, writing essays, and various aspects of contemporary music--all within a stylistic and historical context. Although our emphasis is on Western musical art, text material is amplified by the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works. The methodology of Tonality and Design in Music Theoryis intentionally eclectic. We present a wide variety of analytic techniques, including both traditional approaches (harmony and form, for example) and also a generous representation of linear analysis. We introduced the latter topic without any formal or restrictive adherence to Schenkerian principles because we feel that these topics are a worthy subject for advanced study in their own right, but only after a beginning groundwork has been established. Our book will not, for example, teach students to draw elaborate graphs. Instead, it will enable them to not only appreciate the long-range attractions and links that pitches have for one another, but also to understand and create graphic representations of these relationships in a variety of ways. Single-line melodic study is covered along with selective representations of structural reductions (as simplified notation) in both harmonic and contrapuntal settings in order to clarify the skeleton and scaffolding of music. These reductions permit distinctions to be made between events that give meaning and those that take meaning. One of the most challenging aspects of writing the actual words, sentences, and paragraphs for an introductory theory course is to establish an appropriate tone, style, and level of readability for students of varying backgrounds--one that is forceful and clear for the learner while being engaging and thought-provoking for the facilitator. In short, we have written a book that we hope is simple and direct, but at the same time, properly sophisticated and nuanced so that while concepts are not diluted, there is no underestimation or dishonoring of the profusion of music itself. We have devoted special care and attention to the problem of writing a text for readers who are coming to a topic for the first time, and can only hope that a satisfying and challenging balance has been achieved so that the books will have appeal as well for the teacher. USING THE TEXT To Students Tonality and Design in Music Theoryis the final manuscript version of a two-volume textbook to be published by Prentice Hall with a January, 2005, copyright date. We hope that you will enjoy using this book and will find it helpful in your studies. Please note how the text has been organized to facilitate study and comprehension. Organization Each chapter centers on a full and detailed discussion of one major aspect of traditional Western music. These prose discussions are then divided into two, three, or four smaller parts that likewise present self-contained topics. There are over thirty of these smaller divisions in each volume, so that while the chapters cover a broad aspect of Western musical art, chapter divisions progress in "bite-sized" pieces. Each chapter division ends with a Review and Applicationconsisting of important terms, class and individual exercise problems, and music for analysis. Be sure that you understand each of the terms and its relationship to the central topic. The exercises can be completed either in class or at home, as directed by your instructor. Chapter Projectsconclude each broad area of study. These projects include analysis, composition, essay, and a wide range of other endeavors that will help you apply the knowledge you have gained to a wider range of interests and studies. Following each Review and Application,chapter divisions contain Self-Tests.These quizzes are short, and center on objective questions about the material concerned. You should take each self-test at home in a timedsituation. The time limits in the text are only suggestions; you may want to allow yourself more time, but note carefully how much of the self-test you have covered in the prescribed time. Remember that in many aspects of music theory, speedin analysis and construction is as important as a knowledge of procedure. The answers to self tests can be found on the website for both volumes ( www.prenhall.com/henry). Where questions are objective, the given answers can be scored correct or incorrect; in other situations, however, you will find an answer given, but with the indication that other correct answers are possible. When in doubt, check your answers with your instructor. Score each self test as directed on the basis of 100 points and note your progress. Workbook/Anthology.The two Workbook/Anthologies that accompany the texts are optional at the discretion of institutions and individual instructors. These volumes contain a wide range of problems, drill exercises, composition activities, and music for analysis. As you progress through the text, you will note references to specific pages in the Workbook/Anthology that correspond to the text material. Your instructor will assign some or all of these materials as supplementary studies. Each chapter of the Workbook/Anthology contains one or more complete works of movements for study and analysis. Compact Disc Recordings.Each volume corresponds to two compact discs that contain recorded examples of text material. Another CD corresponds to each volume of the workbook/anthology. These recordings will assist you in your study when a keyboard