Analysis of Tonal Music A Schenkerian Approach

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  • Edition: 2nd
  • Format: Hardcover
  • Copyright: 2006-12-26
  • Publisher: Oxford University Press
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Designed as an introductory text for upper-level undergraduates and beginning graduate students, Analysis of Tonal Music: A Schenkerian Approach, Second Edition, explains the fundamental principles of Schenkerian analysis by focusing on the music itself. Intended for use in one- or two-semester courses on Schenkerian theory, this text will also appeal to individuals interested in Schenker's work. The book assumes no prior knowledge of the subject, but it does require a background in harmony and voice leading; a familiarity with species counterpoint is also desirable. The authors develop Schenkerian techniques through the practical analysis of specific compositions, an approach that parallels the evolution of Schenker's work. The book explains structural principles in actual composition rather than through models and formulas, and teaches students how to think about and critically examine compositions in ways that will inform their understanding and performance of great compositions of Western art music. The first part of the volume provides the foundation for the analysis of complete pieces and includes discussions of melody, counterpoint, bass-line structures, the Imaginary Continuo, linear techniques, and the essential properties of the Ursatz and its elaborations; the presentation of complete compositions in Part II is organized by formal category. The revised concluding chapter summarizes many of the general tonal patterns that recur throughout the literature. The book includes more than 200 analytical graphs, musical examples--some new to this edition--and a bibliography. Analysis of Tonal Music: A Schenkerian Approach, Second Edition, provides a comprehensive introduction to Schenker's ideas and demonstrates how they can be applied toward a better understanding of tonal music. Features of the Second Edition * NEW: An accompanying Student Workbook containing thirty-four exercises with guided analyses * Adds a primer on graphic notation (as an appendix) * Places greater emphasis on the Imaginary Continuo as a tool for analysis * Introduces interruption technique earlier and in more depth * Provides new examples in Chapter 9 that demonstrate the common middleground plans underlying Baroque binary movements * Delves more deeply into rhythmic principles * Features a completely revised Chapter 12, which now presents common tonal patterns (structural "paradigms") * Includes suggestions for further analysis at chapter ends and refers students to appropriate workbook exercises

Author Biography

Allen Cadwallader is Professor of Music Theory at the Oberlin Conservatory of Music David Gagne is Associate Professor of Music Theory at Queens College and The Graduate Center, City University of New York

Table of Contents

Prefacep. xi
Basic Principlesp. 1
Introductionp. 3
Beethoven, Piano Sonata, Op. 2, No. 1, Ip. 4
Melody and Counterpointp. 15
Melodyp. 15
Counterpointp. 23
A Sample Analysisp. 35
Bass Lines and Harmonic Structurep. 41
Tonic Harmony (T Class)p. 42
Intermediate Harmonies (Int Class)p. 46
Dominant Harmony (D Class)p. 49
Larger Contextsp. 52
The Imaginary Continuop. 62
Chord Prolongation: Summaryp. 63
Linear Techniquesp. 69
Linear Progressionsp. 69
Linear Intervallic Patternsp. 80
The Neighbor Notep. 91
Linear Intervallic Patterns: Summaryp. 93
Tonal Structurep. 99
Notational Symbolsp. 99
Tonal Structure and the Ursatzp. 102
The Bass Arpeggiation (Bassbrechung)p. 107
The Fundamental Line (Urlinie)p. 108
Structural Levelsp. 109
The Principle of Interruptionp. 110
More on the Ursatzp. 114
Techniques of Melodic Prolongationp. 119
The Initial Ascentp. 119
The Arpeggiated Ascentp. 121
Unfoldingp. 124
Motion into an Inner Voicep. 127
Motion from an Inner Voicep. 129
Voice Exchangep. 131
Shift of Registerp. 134
Descending and Ascending Register Transferp. 134
Couplingp. 137
Superpositionp. 139
Reaching Overp. 139
Cover Tonep. 144
Substitutionp. 147
The Phrygian 2p. 147
Mixture of Scale Degree 3p. 150
Some Basic Elaborations of Fundamental Structuresp. 153
Mozart, Piano Sonata, K. 283, I, bars 1-16p. 154
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16p. 159
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8p. 164
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16p. 170
Mozart, Piano Concerto, K. 488, II, bars 1-12p. 177
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47p. 182
Some Points for Reviewp. 188
Analytical Applicationsp. 191
One-Part Formsp. 195
Bach, Prelude in C major (WTC I)p. 195
Schubert, "Wandrers Nachtlied"p. 201
Schumann, "Lieb' Liebchen"p. 208
Binary Formsp. 215
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2p. 216
Mozart, Symphony No. 35, K. 385, Triop. 221
Bach, Flute Sonata No. 2, Minuet 1p. 224
Corelli, Violin Sonata, Op. 5, No. 10, Gavottep. 228
Handel, Suite No. 5 in D minor, HWV 436, Menuettop. 231
Bach, "Little" Prelude in C major, BWV 933, Menuettop. 234
Auxiliary Cadencesp. 239
Ternary Forms and Rondop. 243
Beethoven, Bagatelle, Op. 119, No. 1p. 243
Mendelssohn, Song Without Words, Op. 62, No. 1p. 253
Schubert, Moment Musical, Op. 94, No. 2p. 263
Haydn, Piano Sonata, Hob. XVI/37, IIIp. 277
Sonata Principlep. 287
Clementi, Sonatina, Op. 36, No. 1, Ip. 288
Mozart, Symphony No. 35 ("Haffner"), K. 385, IIp. 294
Mozart, Piano Sonata, K. 457, Ip. 304
Some Common Tonal Patternsp. 327
Introductionp. 327
Binary Formsp. 328
Ternary Formsp. 329
Sonata Principlep. 334
Prolongational Spansp. 340
Mixture and Large-Scale Tonal Plansp. 347
Correspondence Between Patterns and Musical Examplesp. 349
Introduction to Graphic Notationp. 351
Open Noteheadsp. 352
Slurs and Filled-in Noteheadsp. 352
Beamsp. 355
Broken Tiesp. 355
Stems with Flagsp. 357
Diagonal Linesp. 357
Diagonal Lines and Beamsp. 360
Rhythmic Notation at Lower Levelsp. 362
Roman Numeralsp. 362
Sample Graphic Analyses for Studyp. 365
Examples from Free Compositionp. 368
Notesp. 369
Selected Bibliographyp. 389
Index of Musical Examplesp. 395
Subject Indexp. 397
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