9780131898905

Emphasizing hands-on contact with the musicthrough playing, singing, listening, and analyzingthis book provides six chapters on theory, each illustrated with musical examples and fully worked-out analyses, all drawn largely from the "classical" pre-war repertoire by Schoenberg, Stravinsky, Bartok, Berg, and Webern.This book offers exceptionally clear, simple explanations of basic theoretical concepts for the post-tonal music of the twentieth century. Chapter topics include basic concepts and definitions; pitch-class sets; centricity, referential collections, and triadic post-tonality; basic twelve-tone operations; and more twelve-tone topics.Musicians and enthusiasts looking to explore advanced topics in music theory and analysis.

TERM	PRICE	DUE
SEMESTER	$64.66	Aug 02
QUARTER	$61.42	Jul 19
SHORT TERM	$58.19	Jun 07

Joseph Straus is Distinguished Professor of Music at the Graduate Center of the City University of New York. He taught for many years at the University of Wisconsin-Madison and Queens College (CUNY). The author or editor of twelve books and numerous articles, mostly on topics in twentieth-century music, he is a former President of the Society for Music Theory.

Preface

vii

Basic Concepts and Definitions

1

(32)

Octave equivalence

1

(2)

Pitch class

3

(1)

Enharmonic equivalence

3

(1)

Integer notation

4

(1)

Mod 12

5

(1)

Intervals

6

(1)

Pitch intervals

7

(1)

Ordered pitch-class intervals

8

(1)

Unordered pitch-class intervals

9

(2)

Interval class

11

(1)

Interval-class content

12

(1)

Interval-class vector

13

(3)

Exercises

16

(17)

Analysis 1

23

(10)

Webern, ``Wie bin ich froh!'' from Three Songs, Op. 25

Schoenberg, ``Nacht,'' from Pierrot Lunaire, Op. 21

Pitch-Class Sets

33

(46)

Pitch-class sets

33

(2)

Normal form

35

(3)

Transposition (Tn)

38

(6)

Inversion (TnI)

44

(3)

Index number (sum)

47

(2)

Inversion (Ix/y)

49

(3)

Set class

52

(5)

Prime form

57

(2)

Segmentation and analysis

59

(2)

Exercises

61

(18)

Analysis 2

67

(12)

Schoenberg, Book of the Hanging Gardens, Op. 15, No. 11

Bartok, String Quartet No. 4, first movement

Some Additional Relationships

79

(51)

Common tones under transposition (Tn)

79

(3)

Transpositional symmetry

82

(1)

Common tones under inversion (TnI)

83

(2)

Inversional symmetry

85

(6)

Z-relation

91

(2)

Complement relation

93

(3)

Subset and superset relations

96

(2)

Transpositional combination

98

(1)

Contour relations

99

(4)

Composing-out

103

(4)

Voice leading

107

(3)

Atonal pitch space

110

(4)

Exercises

114

(16)

Analysis 3

119

(11)

Webern, Movements for String Quartet, Op. 5, No. 4

Berg, ``Schlafend tragt man mich,'' from Four Songs, Op. 2

Centricity, Referential Collections, and Triadic Post-Tonality

130

(52)

Tonality

130

(1)

Centricity

131

(2)

Inversional axis

133

(7)

The diatonic collection

140

(4)

The octatonic collection

144

(3)

The whole-tone collection

147

(2)

The hexatonic collection

149

(1)

Collectional interaction

150

(4)

Interval cycles

154

(4)

Triadic post-tonality

158

(12)

Exercises

170

(12)

Analysis 4

174

(8)

Stravinsky, Oedipus Rex, rehearsal nos. 167--70

Bartok, Sonata, first movement

Basic Twelve-Tone Operations

182

(35)

Twelve-tone series

182

(1)

Basic operations

183

(9)

Subset structure

192

(3)

Invariants

195

(6)

Exercises

201

(16)

Analysis 5

205

(12)

Schoenberg, Suite for Piano, Op. 25, Gavotte

Stravinsky, In Memoriam Dylan Thomas

More Twelve-Tone Topics

217

(44)

Webern and derivation

217

(5)

Schoenberg and hexachordal combinatoriality

222

(9)

Stravinsky and rotational arrays

231

(3)

Crawford and her ``triple passacaglia''

234

(1)

Boulez and multiplication

235

(5)

Babbit and trichordal arrays

240

(6)

Exercises

246

(15)

Analysis 6

249

(12)

Webern, String Quartet, Op. 28, first movement

Schoenberg, Piano Piece, Op. 33a

Appendix 1 List of Set Classes

261

(4)

Appendix 2 Index Vectors

265

(4)

Index

269

What is included with this book?

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Compared to tonal theory, now in its fourth century of development, post-tonal theory is in its infancy. But in the past three decades, it has shown itself to be an infant of prodigious growth and surprising power. A broad consensus has emerged among music theorists regarding the basic musical elements of post-tonal music--pitch, interval, motive, harmony, collection--and this book reports that consensus to a general audience of musicians and students of music. Like books on scales, triads, and simple harmonic progressions in tonal music, this book introduces basic theoretical concepts for the post-tonal music of the twentieth and twenty-first centuries.Beyond basic concepts, the third edition of this book also contains information on many of the most recent developments in post-tonal theory, including expanded or new coverage of the following topics: Transformational networks and graphs Contour theory Composing-out Atonal voice leading Atonal pitch space Triadic post-tonality (including voice-leading parsimony) Inversional symmetry and inversional axes Interval cycles Diatonic, whole-tone, octatonic, and hexatonic collectionsAs a result, this book is not only a primer of basic concepts but also an introduction to the current state of post-tonal theory, with its rich array of theoretical concepts and analytical tools.Although this book can make no pretense to comprehensiveness either, either chronologically or theoretically--there is just too much great music and fascinating theory out there--this third edition explores a much wider range of composers and musical styles than its predecessors. Although the "classical" prewar repertoire of music by Schoenberg, Stravinsky, Bart6k, Webern, and Berg still comprises the musical core, theoretical concepts are now also illustrated with music by Adams, Babbitt, Berio, Boulez, Britten, Cage, Carter, Cowell, Crawford, Crumb, Debussy, Feldman, Glass, Gubaidulina, Ives, Ligeti, Messiaen, Musgrave, Reich, Ruggles, Sessions, Shostakovich, Stockhausen, Varese, Wolpe, Wuorinen, and Zwilich.As with the previous editions of this book, I received invaluable advice from many friends and colleagues based on their teaching experience. I am grateful to Wayne Alpern, Jonathan Bernard, Claire Boge, Ricardo Bordini, Scott Brickman, Michael Buckler, Uri Burstein, James Carr, Patrick Fairfield, Michael Friedmann, Edward Gollin, Dave Headlam, Gary Karpinski, Rosemary Killam, Bruce Quaglia, Daniel Mathers, Carolyn Mullin, Catherine Nolan, Jay Rahn, Nancy Rogers, Steven Rosenhaus, Art Samplaski, Paul Sheehan, Stephen Slottow, David Smyth, Harvey Stokes, Dmitri Tymoczko, and Joyce Yip. My thanks go also to Chris Johnson and Laura Lawrie at Prentice Hall for their expert editorial work at every stage. Michael Berry provided additional editorial assistance. Closer to home, in matters both tangible and intangible, Sally Goldfarb has offered continuing guidance and support beyond my ability to describe or repay. Adam and Michael helped, too. Joseph N. Straus Graduate Center City University of New York

Amazon no longer offers textbook rentals. We do!

Introduction to Post-Tonal Theory

Introduction to Post-Tonal Theory

0131898906

Summary

Author Biography

Table of Contents

Supplemental Materials

Excerpts