The complete musician: an integrated approach to tonal theory, analysis, and listening
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford Univ. Press
2012
|
| Ausgabe: | 3. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | XX, 875 S. Ill., Notenbeisp. 27 cm. CD (12 cm) |
| ISBN: | 9780199742783 0199742782 |
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| 245 | 1 | 0 | |a The complete musician |b an integrated approach to tonal theory, analysis, and listening |c Steven G. Laitz |
| 250 | |a 3. ed. | ||
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| 650 | 4 | |a Tonality | |
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Datensatz im Suchindex
| _version_ | 1804148678837927937 |
|---|---|
| adam_text | CONTENTS
Preface
xii
PART
1
THE FOUNDATION
OF
TONAL
MUSIC
1
1
Musical
Space and Time
2
Tonality in Context: Bach s Violin Partita no.
3,
Prelude
2
Specifics of the Pitch Realm
4
The Metrical Realm
19
2
Harnessing Space and Time: Introduction to Melody
and Two-Voice Counterpoint
41
Melody: Characteristics and Writing
41
Controlling Consonance and Dissonance: Introduction to
Two-Voice Counterpoint
46
Review and Synthesis of Terms and Concepts
63
3
Musical Density: Triads, Seventh Chords, and Texture
64
Adding Voices: Triads and Seventh Chords
64
Musical Texture
72
Summary of Part
1 82
PART
2
MERGING MELODY AND HARMONY
83
4
When Harmony, Melody, and Rhythm Converge
84
Tonal Hierarchy in Music
84
Embellishing Tones
86
The Importance of Context in Analysis
88
Analytical Interlude
92
Melodic Fluency
95
Melody As Harmony
99
5
Tonic and Dominant as Tonal Pillars and Introduction
to Voice Leading
103
Characteristics and Effect of V and I
103
The Cadence
106
Introduction to Voice Leading
109
Summary of Voice-Leading Rules and Guidelines
116
6
The Impact of Melody, Rhythm, and Meter on Harmony;
Introduction to V7; and Harmonizing Florid Melodies
120
The Interaction of Harmony, Melody, Meter, and Rhythm:
Embellishment and Reduction
120
The Dominant Seventh and Chordal Dissonance
131
Harmonizing Florid Melodies
136
Summary
139
vi
CONTENTS
vii
7
Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords
142
Chordal Leaps in the Bass: I6 and V6
142
Neighbor Tones in the Bass (V6)
146
Second-Level Analysis
148
Passing Tones in the Bass: vii°6
151
Tonic Expansion with an Arpeggiating Bass: IV6
153
Dominant Expansion with Passing Tones: IV6
154
Combining First-Inversion Chords
155
Summary
155
8
More Contrapuntal Expansions: Inversions of V7, Introduction to Leading-Tone Seventh Chords,
and Reduction and Elaboration
160
V7 and Its Inversions
160
Voice-Leading Inversions of V7
165
Combining Inversions of V7
165
Compositional Impact of Contrapuntal Chords
167
Leading-Tone Seventh Chords: vii°7 and
vii07
172
Summary of Contrapuntal Expansions
177
Reduction and Elaboration: Compositional and Performance Implications
179
Summary of Part
2 185
PART
3
A NEW HARMONIC FUNCTION, THE PHRASE MODEL,
AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS
189___________
9
The Pre-Dominant Function and the Phrase Model
190
The Pre-Dominant Function
190
Introduction to the Phrase Model
200
10
Accented and Chromatic Embellishing Tones
206
The Accented Passing Tone (APT)
208
The Chromatic Passing Tone (CPT)
209
The Accented Neighbor Tone (AN)
210
The Chromatic Neighbor Tone (CN)
211
The
Appoggiatura (APP)
213
The Suspension (S)
213
The Anticipation (ANT)
219
The Pedal (PED)
220
Summary of the Most Common Embellishing Tones
221
11
Six-Four Chords, Revisiting the
Subdominant,
and Summary of Contrapuntal Expansions
227
Unaccented Six-Four Chords
227
Accented Six-Four Chords
231
12
The Pre-Dominant Refines the Phrase Model
246
Nondominant
Seventh Chords: IV7
(Γνφ
and ii7 (iif)
246
Embedding the Phrase Model
251
Contrapuntal Cadences
254
Expanding the Pre-Dominant
255
Subphrases
259
Summary of Part
3 263
PART
4
NEW CHORDS AND NEW FORMS
267__________________________________
13
The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model
268
The Submediant
(vi
in Major, VI in Minor)
268
CONTENTS
29
The Rise of Symmetrical Harmony in Tonal Music
606
A Paradox: Balanced Music Based on Asymmetry
606
Symmetry and Tonal Ambiguity
608
The Augmented Triad
609
Altered Dominant Seventh Chords
613
The Common-Tone Diminished Seventh Chord
615
Common-Tone Augmented Sixth Chords
617
Analytical Interlude
618
30
Melodic and Harmonic Symmetry Combine: Chromatic Sequences
624
Distinctions Between Diatonic and Chromatic Sequences
624
Chromatic Sequence Types
626
Other Chromatic Step-Descent Basses
632
Writing Chromatic Sequences
636
Chromatic Contrary Motion
638
A Final Equal Division of the Octave
642
31
At Tonality s Edge
648
Sequential Progressions
648
Nonsequential Progressions and Equal Divisions of the Octave
653
The Intervallic Cell
565
Summary of Part
8 679
APPENDICES
_________________________________________________
Appendix
1
Fundamentals
A. The Pitch Realm
681
Charting Musical Sound: Staff and Clef
681
Pitch and Pitch Class
683
The Division of Musical Space: Intervals
683
Accidentals
684
Scales
685
Enharmonicism
686
Scale Degree Numbers and Names
687
Specific Scale Types: Major and Minor
687
Building Scales in the Major Mode
688
Key Signatures and the Circle of Fifths
689
Building Scales in the Minor Mode
691
Key Signatures in Minor
693
Relative Major and Minor Keys
694
B. Pulse, Rhythm, and Meter
699
Rhythm and Durational Symbols
699
Meter
703
С
Intervals
713
Naming Generic Intervals
713
Melodic and Harmonic Intervals: Simple and Compound
714
Tips for Identifying Generic Intervals
715
Naming Specific Intervals
716
Transforming Intervals: Augmented and Diminished
Intervals
718
Interval Inversion
720
Generating All Intervals
722
CONTENTS xi
D.
Triads, Inversions, Figured Bass,
and Harmonic Analysis
726
Triads
726
E. Seventh Chords and Harmonic Analysis
744
Definitions and Types
745
Musical Characteristics of Seventh Chords
745
Analytical Tips
747
Seventh Chords and Harmonic Analysis
748
Appendix
2
Invertible Counterpoint, Compound Melody,
and Implied Harmonies
754
Invertible Counterpoint
754
Harmonic Implications of Single Melodic Lines:
Compound Melody
762
Appendix
3
The Motive
768
Introduction
768
Motive Types
769
Motivic Repetition
771
Inter-section and Intermovement Motivic Repetitions
786
Single-Interval Motives
793
Hidden Motivic Repetitions
797
Appendix
4
Additional Harmonic-Sequence Topics
804
Compound Melody and Implied Seventh Chord
Sequences
804
Parallel First-Inversion Triads
805
Sequences Versus Sequential Progressions
807
Composing Sequences Within the Phrase Model
808
Appendix
5
Abbreviations and Acronyms
811
Appendix
6
Selected Answers to Textbook Exercises
815
Index of Terms and Concepts
866
Index of Musical Examples and Exercises
872
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| spelling | Laitz, Steven G. Verfasser aut The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz 3. ed. New York, NY Oxford Univ. Press 2012 XX, 875 S. Ill., Notenbeisp. 27 cm. CD (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes index. Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd rswk-swf Harmonielehre (DE-588)4129028-8 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Musikalische Analyse (DE-588)4040814-0 s Harmonielehre (DE-588)4129028-8 s DE-604 Harmonik (DE-588)4129030-6 s 1\p DE-604 Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024626214&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Laitz, Steven G. The complete musician an integrated approach to tonal theory, analysis, and listening Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd Harmonielehre (DE-588)4129028-8 gnd Musikalische Analyse (DE-588)4040814-0 gnd |
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| title | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_auth | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_exact_search | The complete musician an integrated approach to tonal theory, analysis, and listening |
| title_full | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_fullStr | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_full_unstemmed | The complete musician an integrated approach to tonal theory, analysis, and listening Steven G. Laitz |
| title_short | The complete musician |
| title_sort | the complete musician an integrated approach to tonal theory analysis and listening |
| title_sub | an integrated approach to tonal theory, analysis, and listening |
| topic | Music theory Textbooks Tonality Musical analysis Harmonik (DE-588)4129030-6 gnd Harmonielehre (DE-588)4129028-8 gnd Musikalische Analyse (DE-588)4040814-0 gnd |
| topic_facet | Music theory Textbooks Tonality Musical analysis Harmonik Harmonielehre Musikalische Analyse Einführung |
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