9780130811202

Following the well-established tradition of comprehensive musicianship, this book presents lessons and assignments not only in basic tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, written essays, and a survey of 20th and 21st century music.It emphasizes Western musical art, with ample material on the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works.For individuals who want to perform as studio musicians, enter the field of music education, follow an applied teaching career, or pursue graduate studies.

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Preface

xi

Using the Text

xiii

UNIT 1 FORM AND TECHNIQUE

1

(104)

Variation Forms

7

(50)

Continuous Variations

8

(17)

The Ground Bass (Basso Ostinato)

8

(3)

Passacaglia

11

(4)

Chaconne

15

(4)

Analyzing Continuous Variations

19

(6)

Sectional Variations

25

(16)

Theme and Variations

25

(2)

Beethoven, Variations on ``God Save the King,''

27

(14)

Figured Bass

41

(2)

Figured Bass Realization

42

(1)

The Figured Bass System

43

(10)

Realization in Four-Part Vocal Style

47

(1)

Realization With Soprano Given

47

(1)

Realization Without Given Soprano

48

(5)

Projects

53

(4)

Canon and Fugue

57

(48)

The Round

57

(3)

Canon

60

(4)

Development of the Fugue

64

(8)

Imitative Counterpoint (Points of Imitation)

64

(2)

Canzona and Ricercar

66

(6)

Fugue

72

(16)

The Subject

73

(2)

Characteristics of Fugue Subjects

75

(1)

The Answer

76

(10)

The Countersubject

86

(2)

Sectional Divisions of a Fugue

88

(13)

The Statement Section

88

(1)

The Middle Section

89

(3)

The Final Section

92

(2)

Stretto

94

(7)

Projects

101

(4)

UNIT 2 CHROMATICISM

105

(70)

Borrowed and Augmented-Sixth Chords

113

(32)

Borrowed Chords

113

(13)

Borrowed Chords in Minor

117

(3)

Diminished Sevenths as Color Chords

120

(6)

Augmented Sixth Chords

126

(15)

Italian Augmented Sixth

128

(3)

German Augmented Sixth

131

(4)

French Augmented-Sixth Chord

135

(6)

Projects

141

(4)

Neapolitan and Other Chromatic Resources

145

(30)

The Neapolitan

145

(12)

Chromatic and Enharmonic Modulation

157

(14)

Modulation by Borrowed Common Chord

157

(3)

Enharmonic Modulation

160

(2)

The Diminished-Seventh Chord as Enharmonic Pivot

162

(3)

German Augmented Sixth as Enharmonic Pivot

165

(2)

Neapolitan Chord as Enharmonic Pivot

167

(4)

Projects

171

(4)

UNIT 3 GRAND FORMS

175

(110)

Sonata Form

185

(46)

Sonata Structure

185

(21)

Exposition

186

(7)

Development

193

(1)

Recapitulation

194

(12)

Sonata Form in the Nineteenth Century

206

(21)

Introduction

206

(4)

Key Relationships in Nineteenth-Century Sonata Movements

210

(3)

Coda

213

(14)

Projects

227

(4)

The Rondo

231

(54)

The Baroque Rondeau

231

(3)

Rondo in the Classical Era

234

(10)

Five-Part (Second) and Seven-Part (Third) Rondos

234

(10)

The Classical Rondo

244

(14)

Sonata-Rondo

258

(17)

Projects

275

(10)

UNIT 4 TONAL MUSIC IN TRANSITION

285

(150)

Dissolution of the Common-Practice Style

291

(44)

A Renaissance of Melody

292

(3)

Nonchord Tones

292

(3)

Alteration of Traditional Materials

295

(11)

Absolute and Program Music

295

(1)

Orchestral Color

296

(2)

Distant Modulation

298

(1)

Decreased Emphasis on the Dominant

299

(3)

Tonal Ambiguity

302

(4)

Expanded Tertian Resources

306

(9)

Ninth Chords

306

(3)

Third Relation

309

(6)

Nonfunctional Harmony

315

(14)

Augmented and Other Ambiguous Triads

315

(3)

Parenthetical Harmony

318

(4)

Chordal Mutation

322

(7)

Projects

329

(6)

Impressionism

335

(50)

The ``Impressionists,''

335

(1)

Claude Debussy and His Influence

336

(1)

Melody

336

(13)

Modes and Exotic Scales

337

(3)

Synthetic Scales

340

(1)

The Whole-Tone Scale

341

(2)

Pentatonic Scale

343

(1)

The Chromatic Scale

344

(5)

Harmonic Organization

349

(14)

Pedal

349

(2)

Cadences

351

(2)

Parallelism (Planing)

353

(4)

Pandiatonicism

357

(6)

Analyzing Impressionist Harmony

363

(6)

Seventh, Ninth, and Added-Tone Chords

363

(3)

Quartal Harmony

366

(3)

Form, Rhythm, and Other Parameters

369

(12)

Impressionist Formal Design

369

(2)

Rhythm and Meter

371

(3)

Orchestration

374

(7)

Projects

381

(4)

National and Ethnic Resources

385

(50)

Nationalism

386

(11)

Influences from Folk and National Rhythms

386

(5)

Innovative Melody

391

(6)

Tonal Harmony Revitalized

397

(15)

Expanded Tertian Harmony

398

(9)

Neo-Classicism

407

(5)

New Musical Systems

412

(17)

Harmonic Systems

412

(3)

Simultaneity

415

(7)

New Concepts in Rhythm and Timbre

422

(7)

Projects

429

(6)

UNIT 5 THE CONTEMPORARY ERA

435

(138)

Atonality

441

(38)

Atonality

441

(1)

Relationships in Atonal Music

442

(14)

The Set

442

(1)

Transposition

443

(1)

Inversion

444

(3)

Inclusion

447

(3)

Set Complementation

450

(6)

Analyzing Atonal Music

456

(5)

Interval Vector

456

(5)

Pitch-Class Sets

461

(12)

Pitch Class

461

(3)

Normal Order

464

(4)

Schoenberg, Op. 19, No. 6

468

(5)

Projects

473

(6)

Serial Composition

479

(46)

Serial Technique

479

(5)

The Tone Row

480

(4)

Transformations of the Row

484

(13)

Transposition

484

(2)

Retrograde

486

(1)

Inversion

486

(1)

Retrograde Inversion

487

(1)

The Matrix

487

(10)

Flexibility in the Serial Method

497

(17)

Free Use of the Row

497

(5)

Rows with More Than and Fewer Than Twelve Tones

502

(1)

Combinatoriality

502

(4)

Extended Serialization

506

(8)

Projects

514

(11)

Music After 1950

525

(48)

Electronic Music

526

(8)

Sound Manipulation in Electronic Music

526

(1)

Performance and Notation Considerations

527

(5)

Electronic Synthesis

532

(1)

Digital Synthesis

533

(1)

Indeterminacy

534

(12)

Composer Indeterminacy

535

(3)

Performer Indeterminacy

538

(8)

Color and Timbre

546

(8)

Microtonal Music

549

(5)

Minimalism

554

(4)

The New Tonality

558

(6)

Quotation

562

(2)

The Future

564

(4)

Projects

568

(5)

Appendix A Tuning and Temperament

573

(4)

Pythagorean Tuning

574

(1)

Mean-Tone Temperament

575

(1)

Twelve-Tone Equal Temperament

576

(1)

Appendix B Instrument Ranges and Transpositions

577

(4)

Instrument Ranges

577

(4)

Credits

581

(4)

Indexes

585

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.

Music Theory is the study of how and why music works. This suggests that understanding the subject consists of something more than data bits, definitions, or a body of prescribed knowledge. While this set of textbooks offers plenty of instruction about names, labels, and an appropriate vocabulary for effective communication among musicians, we have designed the series to offer a good deal more. Without being dangerously speculative, we have tried to propose, where possible, the reasonswhich lie behind principles and procedures of aesthetically stimulating musical constructions--that is, an explanation for just how the rules came about and how they have influenced changing musical styles. We have also approached theoretical study from the listener''s perspective, so that our discussions and analyses refer not only to the printed notation of scores, but also to the reactions of educated audiences to the individual sounds and larger patterns of music. By alluding frequently to the aesthetic involvement of music and the psychological manipulation of master composers, for example, we have endeavored to enrich cognitive and perceptual experiences; these are simultaneously the byproducts of informed listening and the foundation of performing, composing, and teaching music. Presented in proper manner and spirit, these books can enable theory teachers to not only foster intellectual development and aural growth for their students, but also to advance beyond that stage into the ambitious realms of changing opinions and attitudes, reworking beliefs and habits, judging sides of a controversy, and refining a set of values. Students may come to develop a sense of wonder about the mysteries and forces of music itself. In other words, training in music theory can support learning how to think and learning how to respond--the twin sides of a true musical education. We draw from the well-established tradition of Comprehensive Musicianship in choosing and organizing topics for these books. Lessons and assignments are presented not only in basis tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, writing essays, and various aspects of contemporary music--all within a stylistic and historical context. Although our emphasis is on Western musical art, text material is amplified by the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works. The methodology of Tonality and Design in Music Theoryis intentionally eclectic. We present a wide variety of analytic techniques, including both traditional approaches (harmony and form, for example) and also a generous representation of linear analysis. We introduced the latter topic without any formal or restrictive adherence to Schenkerian principles because we feel that these topics are a worthy subject for advanced study in their own right, but only after a beginning groundwork has been established. Our book will not, for example, teach students to draw elaborate graphs. Instead, it will enable them to not only appreciate the long-range attractions and links that pitches have for one another, but also to understand and create graphic representations of these relationships in a variety of ways. Single-line melodic study is covered along with selective representations of structural reductions (as simplified notation) in both harmonic and contrapuntal settings in order to clarify the skeleton and scaffolding of music. These reductions permit distinctions to be made between events that give meaning and those that take meaning. One of the most challenging aspects of writing the actual words, sentences, and paragraphs for an introductory theory course is to establish an appropriate tone, style, and level of readability for students of varying backgrounds--one that is forceful and clear for the learner while being engaging and thought-provoking for the facilitator. In short, we have written a book that we hope is simple and direct, but at the same time, properly sophisticated and nuanced so that while concepts are not diluted, there is no underestimation or dishonoring of the profusion of music itself. We have devoted special care and attention to the problem of writing a text for readers who are coming to a topic for the first time, and can only hope that a satisfying and challenging balance has been achieved so that the books will have appeal as well for the teacher. USING THE TEXT To Students Tonality and Design in Music Theoryis the final manuscript version of a two-volume textbook to be published by Prentice Hall with a January, 2005, copyright date. We hope that you will enjoy using this book and will find it helpful in your studies. Please note how the text has been organized to facilitate study and comprehension. Organization Each chapter centers on a full and detailed discussion of one major aspect of traditional Western music. These prose discussions are then divided into two, three, or four smaller parts that likewise present self-contained topics. There are over thirty of these smaller divisions in each volume, so that while the chapters cover a broad aspect of Western musical art, chapter divisions progress in "bite-sized" pieces. Each chapter division ends with a Review and Applicationconsisting of important terms, class and individual exercise problems, and music for analysis. Be sure that you understand each of the terms and its relationship to the central topic. The exercises can be completed either in class or at home, as directed by your instructor. Chapter Projectsconclude each broad area of study. These projects include analysis, composition, essay, and a wide range of other endeavors that will help you apply the knowledge you have gained to a wider range of interests and studies. Following each Review and Application,chapter divisions contain Self-Tests.These quizzes are short, and center on objective questions about the material concerned. You should take each self-test at home in a timedsituation. The time limits in the text are only suggestions; you may want to allow yourself more time, but note carefully how much of the self-test you have covered in the prescribed time. Remember that in many aspects of music theory, speedin analysis and construction is as important as a knowledge of procedure. The answers to self tests can be found on the website for both volumes ( www.prenhall.com/henry). Where questions are objective, the given answers can be scored correct or incorrect; in other situations, however, you will find an answer given, but with the indication that other correct answers are possible. When in doubt, check your answers with your instructor. Score each self test as directed on the basis of 100 points and note your progress. Workbook/Anthology.The two Workbook/Anthologies that accompany the texts are optional at the discretion of institutions and individual instructors. These volumes contain a wide range of problems, drill exercises, composition activities, and music for analysis. As you progress through the text, you will note references to specific pages in the Workbook/Anthology that correspond to the text material. Your instructor will assign some or all of these materials as supplementary studies. Each chapter of the Workbook/Anthology contains one or more complete works of movements for study and analysis. Compact Disc Recordings.Each volume corresponds to two compact discs that contain recorded examples of text material. Another CD corresponds to each volume of the workbook/anthology. These recordings will assist you in your study when a keyboard

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Tonality and Design in Music Theory, Volume 2

Tonality and Design in Music Theory, Volume 2

0130811203

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