The complete musician: an integrated approach to theory, analysis, and listening [Hauptband]
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; Oxford
Oxford University Press
[2016]
|
| Ausgabe: | Fourth edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Mit Glossar Previous edition: 2012. - Includes index |
| Beschreibung: | xxxvi, 875, 16, 2, 17, 8 Seiten Illustrationen 26 cm |
| ISBN: | 9780199347094 |
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Datensatz im Suchindex
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|---|---|
| adam_text | BRIEF CONTENTS
PREFACE
xxvii
PART 1 THE FOUNDATIONS OF TONAL MUSIC
chapter lA Musical Space.......3
chapter IB Musical Time:
Pulse, Rhythm, and Meter......44
chapter 2 Harnessing Space and
Time: Introduction to Melody and
Two-Voice Counterpoint......78
chapter 3 Musical Density:
Triads, Seventh Chords,
and Texture.......................106
PART 2 MERGING MELODY AND HARMONY........hi
chapter 4 When Harmony,
Melody, and Rhythm Converge...143
chapter 5 Tonic and Dominant
as Tonal Pillars and Introduction
to Voice Leading..............166
chapter 6 The Impact of Melody,
Rhythm, and Meter on Harmony;
Introduction to V7; and
Harmonizing Florid Melodies...186
chapter 7 Contrapuntal Expansions
of Tonic and Dominant: Six-Three
Chords.......................211
chapter 8 More Contrapuntal
Expansions: Inversions ofV7,
Introduction to Leading-Tone
Seventh Chords, and Reduction and
Elaboration..................231
vii
viii
THE COMPLETE MUSICIAN
PART 3 A NEW HARMONIC FUNCTION, THE PHRASE
MODEL, AND ADDITIONAL MELODIC AND HARMONIC
EMBELLISHMENTS.............................261
chapter 9 The Pre-Dominant
Function and the Phrase Model..263
chapter 10 Accented and
Chromatic Embellishing Tones...280
chapter 11 Six-Four Chords,
Revisiting the Subdominant,
and Summary of Contrapuntal
Expansions.....................303
chapter 12 The Pre-Dominant
Refines the Phrase Model...324
PART 4 NEW CHORDS AND NEW FORMS.........345
CHAPTER 13 The Submediant:
A New Diatonic Harmony,
and Further Extensions of
the Phrase Model..............347
chapter 14 The Mediant,
the Back-Relating Dominant,
and a Synthesis of Diatonic
Harmonic Relationships........366
chapter 15 The Period..........378
chapter 16 Other Small Musical
Structures: Sentences, Double
Periods, and Modified Periods..393
chapter 17 Harmonic
Sequences......................409
PART 5 FUNCTIONAL CHROMATICISM............433
435
CHAPTER 18 Applied Chords...
chapter 19 Tonicization and
Modulation..................
461
chapter 20 Binary Form and
Variations...................
482
Brief Contents
ix
PART 6 EXPRESSIVE CHROMATICISM
507
chapter 21 Modal Mixture.....509
chapter 22 Expansion of
Modal Mixture Harmonies:
Chromatic Modulation
and the German Lied..........531
chapter 23 The Neapolitan
Chord ( II)................554
chapter 24 The Augmented
Sixth Chord.................568
PART 7 LARGE FORMS: TERNARY, RONDO, SONATA
chapter 25 Ternary Form......595 chapter 27 Sonata Form
chapter 26 Rondo.............616
PART 8 INTRODUCTION TO NINETEENTH-CENTURY
HARMONY: THE SHIFT FROM ASYMMETRY TO
SYMMETRY.................................661
CHAPTER 28 New Harmonic CHAPTER 29 Melodic and Harmonic
Tendencies...................663 Symmetry Combine: Chromatic
Sequences.....................694
PART 9 TWENTIETH- AND TWENTY-FIRST-CENTURY
MUSIC....................................
chapter 30 Vestiges of Common
Practice and the Rise of a New Sound
World................. .........729
chapter 31 Noncentric Music:
Atonal Concepts and Analytical
Methodology.....................790
chapter 32 New Rhythmic and
Metric Possibilities, Ordered
PC Relations, and Twelve-Tone
Techniques.............................828
X
THE COMPLETE MUSICIAN
ONLINE APPENDICES
appendix i Invertible Counterpoint, APPENDIX 4 Abbreviations and
Compound Melody, and Implied Acronyms... .......................................................A-61
Harmonies.........................................................a-i APPENDIX 5 Selected Answers to
appendix 2 The Motive........................A-i6 Textbook Exercises....................................A-65
appendix 3 Additional Harmonic-
Sequence Topics..........................................A-54
GLOSSARY....................G-l
CREDITS.....................C-I
INDEX OF TERMS AND
CONCEPTS...................11-1
INDEX OF MUSICAL EXAMPLES
AND EXERCISES.............
12-1
The MOST ENGAGING, INTEGRATED, AND MUSICAL
THEORY TEXT AVAILABLE FOR MUSIC MAJORS
NEW TO THIS EDITION
• Coverage of twentieth-century and contemporary music
theory to meet the needs of theory courses that
integrate post-tonal music
• A consolidated introduction to fundamentals at the
beginning of the book
• Enhanced pedagogy and design:
A new two-color design guides students and teachers
to central concepts and examples
t New Chapter Openings featuring Chapter Overviews
help users identify the essential material covered in
each chapter
Additional subheads improve chapter navigation,
making it easier for students to quickly scan for and
locate key information for study and review
End-of-chapter Review Questions cover key topics
in order to enhance student learning
•300 new exercises and examples accompanied by
recordings help students and teachers focus on key concepts
• An expanded Companion Website at www.oup.com/us/laitz
now includes streaming audio for nearly all examples and
exercises plus supplementary drill exercises
• The accompanying Anthology contains eighty-four
complete scores, keyed to the text
aI would indeed recommend this book to a
colleague. In fact, most of my friends at other
universities have already adopted it.. .Its
coverage of harmony is exemplary, as is its coverage
of form.55
—Mark McFarland, Georgia State University
“The Complete Musician provides a more
holistic approach to theory than any other
text. This text will absolutely help students’
performing abilities and how they approach
and understand music.55
—Alex Nohai-Seaman, Suffolk County Community College
“This text is comprehensive, extremely
thorough, and sophisticated.55
—Jeffrey Loeffert, Oklahoma Stale University
ABOUT THE AUTHOR
Steven G. Laitz is chair of the Music Theory and Analysis
department at The Juilliard School and Professor of Music
Theory at the Eastman School of Music. He serves as Director
of the Gail Boyd de Stwolinski Center for Music Theory
Pedagogy at the University of Oklahoma and Executive Editor
of Music Theory Pedagogy Online.
|
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| spelling | Laitz, Steven G. Verfasser (DE-588)1025648226 aut The complete musician an integrated approach to theory, analysis, and listening [Hauptband] Steven G. Laitz (Eastman School of Music and The Juilliard School) Fourth edition New York ; Oxford Oxford University Press [2016] xxxvi, 875, 16, 2, 17, 8 Seiten Illustrationen 26 cm txt rdacontent n rdamedia nc rdacarrier Mit Glossar Previous edition: 2012. - Includes index Music theory Textbooks Tonality Musical analysis (DE-588)4123623-3 Lehrbuch gnd-content (DE-604)BV044872704 1 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030267559&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030267559&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title_full | The complete musician an integrated approach to theory, analysis, and listening [Hauptband] Steven G. Laitz (Eastman School of Music and The Juilliard School) |
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| title_short | The complete musician |
| title_sort | the complete musician an integrated approach to theory analysis and listening hauptband |
| title_sub | an integrated approach to theory, analysis, and listening |
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