9780199330560

Music Theory Remixed A Blended Approach for the Practicing Musician

by
  • ISBN13:

    9780199330560

  • ISBN10:

    0199330565

  • Format: Paperback
  • Copyright: 2016-12-01
  • Publisher: Oxford University Press

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Supplemental Materials

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Summary

Designed for today's undergraduate music students, Music Theory Remixed: A Blended Approach for the Practicing Musician presents tonal music theory through a dual lens of works from the Western canon and examples from popular music, including rock, jazz, techno, film soundtracks, and world music. With exceptional clarity, it balances the study of traditional part-writing with the development of essential skills like score analysis and identification of historical style. Each chapter contains guided activities involving analysis, composition, and improvisation, offering a perfect blend of learned material and practical application.

Visit the book's free, open-access Companion Website at www.oup.com/us/holm-hudson for additional student resources, including an online workbook and complete Spotify playlists for all examples.

Author Biography


Kevin Holm-Hudson is Associate Professor of Music Theory and Coordinator of the Division of Music Theory and Composition at the University of Kentucky.

Table of Contents


CONTENTS

PREFACE

PART 1: FUNDAMENTALS AND DIATONIC HARMONY

PRELUDE: SETTING THE STAGE
Introduction: Knowing the Secrets
Three Listening Studies
Sound Example 1.1: Scott Johnson, John Somebody-Pt. 1
Sound Example 1.2: Iannis Xenakis, Concrèt PH
Sound Example 1.3: Robert Schumann, Arabeske in C major, op. 18
Web Feature PRL.1: John Lee Hooker, "Boogie Chillun"
Weaving the Sonic Tapestry: Texture
Monophony: Jean Ritchie, "Barbary Allen (Barbara Allen)" and Johann Sebastian Bach, Minuet II from Suite no. 1 in G major for solo cello, BWV 1007
Homophony: Fréderic Chopin, Prelude in B minor, op. 28, no. 6
Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777
Heterophony: Master Musicians of Jajouka featuring Bachir Attar, "El Medahey"
Conclusion
Terms to Know

CHAPTER 1: DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES
The Keyboard, Pitch, and Pitch Class
Clefs and the Grand Staff
Level Mastery 1.1
Accidentals and Enharmonic Spellings
Level Mastery 1.2
Notation on the Staff
The Harmonic Series and Timbre
The Major Scale and Its Scale Degrees
Level Mastery 1.3
Major Key Signatures
Level Mastery 1.4
The Minor Scale Forms and Their Scale Degrees
The Natural Minor Scale
The Harmonic Minor Scale
The Melodic Minor Scale
Level Mastery 1.5
Minor Key Signatures
Level Mastery 1.6
The Circle of Fifths and Closely Related Keys
Web Feature 1.1: Observations of Tonal Relationships and the Evolution of Musical Style
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 2: DIMENSIONS OF PITCH II: MODES, INTERVALS, CONSONANCE AND DISSONANCE
Diatonic Modes
Level Mastery 2.1
Web Feature 2.1: Experimenting with Scales
Web Feature 2.2: Javanese Court Gamelan, "Hudan Mas"
The Space Between the Tones: Intervals
Level Mastery 2.2
Interval Quality
Perfect Intervals
Web Feature 2.3: The Tritone: The Devil in Music
Major and Minor Intervals
Augmented and Diminished Intervals
Compound Intervals
Spelling Intervals
Inversion of Intervals
Level Mastery 2.3
Level Mastery 2.4
Consonant and Dissonant Harmonic Intervals
Web Feature 2.4: Contextual Dissonance in Richard Strauss's Also Sprach Zarathustra
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 3: DURATION, RHYTHM, AND METER
Time: The Wellspring of Music
Metric Structure
Sound Example 3.1: Hoobastank, "The Reason"
Web Feature 3.1: Perceiving Levels of Meter in Autechre's "Crystel"
Types of Meter
Representing Durations
Level Mastery 3.1
Meter Signatures
Level Mastery 3.2
Accent
Level Mastery 3.3
Organizing Meter: Beaming and Syncopation
Web Feature 3.2: Competing Groupings in Dave Matthews Band's "Drive In Drive Out"
Web Feature 3.3: Issues in Tempo, Meter, and Notation
Web Feature 3.4: Changing Groupings in Peter Gabriel's "The Rhythm of the Heat"
Level Mastery 3.4
Additive Meters
Sound Example 3.2: Bulgarian Choral Folk Song, "Dilmano,
Dilbero"
Web Feature 3.5: Changing Additive Meters in Igor Stravinsky's "Glorification of the Chosen One" from The Rite of Spring
Level Mastery 3.5
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 4: TRIADS AND SEVENTH CHORDS
Triads and Chord Quality
Level Mastery 4.1
Triad Inversions
Seventh Chords and Chord Quality
Level Mastery 4.2
Seventh Chord Inversions
Level Mastery 4.3
Introduction to Figured Bass
Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach's Recitative II from Cantata no. 140
Level Mastery 4.4
Pop Chord Symbols
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 5: DIATONIC CHORD LABELS
Diatonic Triads in Major Keys
Roman Numerals
Diatonic Triads in Minor Keys
Level Mastery 5.1
Diatonic Seventh Chords in Major Keys
Diatonic Seventh Chords in Minor Keys
Level Mastery 5.2
Harmonic Functions
Level Mastery 5.3
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 6: INTRODUCTION TO COUNTERPOINT AND VOICE LEADING
Constructing a Melodic Line
Level Mastery 6.1
Voice Leading and Types of Motion
Level Mastery 6.2
Introduction to the First Three Species of Counterpoint
First Species
Level Mastery 6.3
Second Species
Level Mastery 6.4
Third Species
Level Mastery 6.5
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 7: FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE
Tendency Tones
Level Mastery 7.1
More Resolution Principles
Level Mastery 7.2
Cadences
Web Feature 7.1: Deceptive Cadences Not Using vi
Level Mastery 7.3
Cadences and Harmonic Rhythm
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 8: PART WRITING WITH ROOT POSITION TRIADS
Chord Spacing
Doubling
Level Mastery 8.1
From Doubling to Voice Leading
Consistency
General Part Writing Principles
Level Mastery 8.2
Connecting Triads with the Same Root
Connecting Triads a Fourth (Fifth) Apart
Connecting Triads a Third (Sixth) Apart
Connecting Triads a Second (Seventh) Apart
Level Mastery 8.3
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 9: PART WRITING WITH FIRST INVERSION TRIADS AND SEVENTH CHORDS
Doubling in First Inversion Triads
Level Mastery 9.1
Parallel First Inversion Triads
Level Mastery 9.2
Resolving Diatonic Seventh Chords in First Inversion
Level Mastery 9.3
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 10: PART WRITING WITH SECOND INVERSION TRIADS AND SEVENTH CHORDS
Introduction
Doubling
The Cadential 6/4 chord
Other Contexts for the 6/4 Chord
The Passing 6/4 and 4/3 Chord
The Neighboring 6/4 and 4/3 Chord
The Arpeggiating 6/4 and 4/3 Chord
The Pedal 6/4 and 4/3 Chord
Level Mastery 10.1
Conclusion
Terms to Know
Self-Test
Apply This!

PART 2: FORM AND CHROMATIC HARMONY 1

CHAPTER 11: MELODIC FIGURATION: NON-CHORD TONES
Introduction to Melodic and Textural Reduction
An Exercise in Embellishment: "My Country, 'Tis of Thee"
Neighbor Tones
Passing Tones
Incomplete Neighbors: Appoggiaturas and Escape Tones
Level Mastery 11.1
Suspensions, Retardations, and Anticipations
Types of Suspensions
Retardations
Anticipations
Level Mastery 11.2
Pedal Point
Web Feature 11.1: Non-Chord Tones in Score Context
Level Mastery 11.3
Web Feature 11.2: Another Look at "Für Elise" (textural reduction)
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 12: MOTIVES, PHRASES, AND PERIODS
Motives
Web Feature 12.1: Motives in Bach's Brandenburg Concerto No. 3, Third Movement
Web Feature 12.2: Motives in Thelonious Monk's "Well You Needn't"-In Composition and Improvisation
Web Feature 12.3: Motivic Parallelism in Queen's "We Are the Champions"
Putting Ideas Together: Sentence Structure
Phrase Structure
Level Mastery 12.1
Larger Phrase Groupings
Hypermeter
Arch Maps: A Tool for Analysis of Phrase Structure
Level Mastery 12.2
When Phrases Collide: Elision
Web Feature 12.4: Joseph Haydn, Symphony no. 101 ("Clock"), Third Movement
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 13: HARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL
Introduction: Harmonic Function Revisited
Level Mastery 13.1
Periods and the Phrase Model
Contrapuntal Expansion of Harmonic Function: Prolongation
Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18
Level Mastery 13.2
Conclusion
Terms to Know
Apply This!

CHAPTER 14: HARMONIC PROGRESSION AND THE CIRCLE OF FIFTHS
The vii°
Level Mastery 14.1
The ii(7) and IV(7) in Major and Minor
Web Feature 14.1: Bach's Part Writing Solutions in the Prelude in C major, BWV 846, from the Well-Tempered Clavier, Book 1
Level Mastery 14.2
The vi(7) in Major and Minor
The iii(7) in Major and Minor
Level Mastery 14.3
Summary of Harmonic Motion
The VII in Minor
The Diatonic (Descending Fifth) Circle-of-Fifths Harmonic Sequence
Level Mastery 14.4
The Reverse (Ascending Fifth) Circle-of-Fifths Harmonic Sequence
The Descending Third Harmonic Sequence
The Ascending Second (5-6) Harmonic Sequence
The Descending Second (7-6) Harmonic Sequence
Harmonic Progression in Popular Music
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 15: SECONDARY CHORDS AND TONICIZATION
Secondary Dominant (and Dominant Seventh) Chords
Level Mastery 15.1
Resolving Secondary Dominant Chords
Level Mastery 15.2
Recognizing and Identifying Secondary Dominant Chords
The Chromatic Circle-of-Fifths Harmonic Sequence
Passing Secondary Dominant Chords
Level Mastery 15.3
Secondary Leading-Tone (Diminished) Chords
Level Mastery 15.4
Resolving Secondary Leading-Tone Chords
Level Mastery 15.5
Recognizing and Identifying Secondary Leading-Tone Chords
Web Feature 15.1: Secondary Chords in Context
Level Mastery 15.6
Conclusion
Terms to Know
Self-Test
Apply This

CHAPTER 16: MODE MIXTURE
Introduction
Mode Mixture in Major
Mode Mixture in Minor
Recognizing and Spelling Borrowed Chords
Level Mastery 16.1
Conclusion
Terms to Know
Self-Test
Apply This!

PART 3: FORM AND CHROMATIC HARMONY 2

CHAPTER 17: MODULATION 1
The Harmonic Journey: There and Back Again
Web Feature 17.1: Tonality as a Journey
Common-Chord Modulation
Level Mastery 17.1
Chromatic Modulation
Level Mastery 17.2
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 18: MODULATION 2
Introduction
Common-Tone Modulation
Sequential Modulation
Monophonic Modulation
Direct Modulation
Progressive Tonality
Web Feature 18.1: Modulation in Context-Mozart, Fantasy in C Minor K.475
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 19: CANON AND FUGUE
Introduction
Canon: Lassus, "Qui Sequitur Me"
Fugue: The Exposition
After the Exposition
Level Mastery 19.1
Contemporary Applications: Bartók, Hindemith, Shostakovitch
A Contemporary Application: Gentle Giant, "On Reflection"
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 20: BINARY AND TERNARY FORMS
Introduction: The Two-Part Principle
Types of Binary Forms
Level Mastery 20.1
Ternary Form
Simple Ternary Form
Compound Ternary Form
Level Mastery 20.2
Song Form (AABA)
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 21: SONATA FORM
Introduction: The Evolution of Sonata Form
The Exposition
The Development Section
The Recapitulation
Web Feature 21.1: Sonata Form in Context-Mozart's Symphony no. 40 in G Minor, K. 550 (i)
Web Feature 21.2: The Sonata Principle in Popular Music
Level Mastery 21.1
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 22: RONDO
Introduction: Extending the Principle of Departure and Return
Web Feature 22.1: The Baroque Rondeau
Characteristics of Classic-Era Rondos
The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Second Movement
The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Third Movement
Level Mastery 22.1
The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B flat Major, K.333,
Third Movement
Web Feature 22.2: When Two Episodes Are Not Enough-Mozart's Rondo in F major, K.494
The Rondo in Popular Music?
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 23: VARIATION FORMS
Introduction
Continuous Variations
Contemporary Chaconne no. 1: Philip Glass, "Kuru Field of Justice"
Contemporary Chaconne no. 2: U2, "With or Without You"
Sectional Variations
Level Mastery 23.1
Jazz Improvisation as Variation
Twelve-Bar Blues
Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver and Louis Armstrong
Techno and Open-Form Variation
Variation as a Process: North Indian Raga
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 24: CHROMATICISM I: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS
Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling
Level Mastery 24.1
Augmented Sixth Chords
The Italian Augmented Sixth (It+6)
The French Augmented Sixth (Fr+6)
The German Augmented Sixth (Ger+6)
Level Mastery 24.2
Related Chords: The Doubly Augmented 4/3 Chord and the Diminished Third Chord
Chromatic Harmony in Context of the Phrase Model
Conclusion
Terms to Know
Self-Test
Apply This!

PART 4: ADVANCED CHROMATIC HARMONY AND CONTEMPORARY TECHNIQUES

CHAPTER 25: ALTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS
Introduction
Ninth Chords
Eleventh Chords
Thirteenth Chords
Color Tones
Level Mastery 25.1
Altered Dominant Chords
Inversions of Altered Dominant Chords
Level Mastery 25.2
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 26: FURTHER CHROMATIC ENHANCEMENTS
Introduction
Extended Tonicization
Common-Tone (Embellishing) Diminished Seventh Chords
Level Mastery 26.1
Linear Chords
Chromatic Mediant Relationships
Neo-Riemannian Theory
Level Mastery 26.2
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 27: MODULATION 3
Introduction
Enharmonic Modulation
Level Mastery 27.1
Level Mastery 27.2
Other Types of Enharmonic Modulation
The Omnibus Progression
Modulation as Narrative
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 28: CONTEMPORARY TECHNIQUES I
Introduction: The Path to New Music, Pathways Back to Older Musics
A Tale of Three Chords
Impressionism
Planing
Level Mastery 28.1
Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel's Sonatine
Integer Notation
Level Mastery 28.2
Synthetic Scales
Level Mastery 28.3
Polytonality
Secundal and Quartal-Quintal Chords
Level Mastery 28.4
Pandiatonicism
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 29: CONTEMPORARY TECHNIQUES II
Introduction
Twelve-Tone Technique
Level Mastery 29.1
Extensions of Twelve-Tone Technique: Integral Serialism
Web Feature 29.1: Examples of Twelve-Tone Music in Jazz
Free Atonality and Set Theory
Octave Equivalence and Mod 12
Level Mastery 29.2
Normal Order
Level Mastery 29.3
Transpositional Equivalence: The Transposition (Tn) Operation
Inversional Equivalence: The Inversion (Tni) Operation
Level Mastery 29.4
Set Class, Interval Vector, and Z-Relation
Set Class
Interval Vector
Z-Relation
Level Mastery 29.5
Subset and Superset Relations
Combinatoriality
Symmetry
Level Mastery 29.6
Conclusion
Terms to Know
Self-Test
Apply This!

CHAPTER 30: CONTEMPORARY TECHNIQUES III
Introduction
New Approaches to Form
Indeterminacy
Minimalism
Postmodernism and Stylistic Pluralism
Conclusion
Terms to Know
Apply This!

CHAPTER 31: THE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY
Introduction
Hocked Hooks and Recycled Riffs: Musical Intertextuality
Web Feature 31.1: Style: The Way Riffs Wander
Narrativity and Musical Meaning
Anaphones
An Analysis of Anaphones: Pink Floyd, "Comfortably Numb" (The Wall, 1979)
Music and Narrative
Web Feature 31.2: Narrative Devices in Schubert's "Erlkönig"
Music as Narrative
Web Feature 31.3: Narrative Elements in Chopin's Ballade No. 1 in G minor, op. 23
Conclusion
Terms to Know
Self-Test
Apply This!

ONLINE APPENDIX: ANSWERS TO SELF-TESTS

INDEX

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