ISBN-10:
0534517595
ISBN-13:
9780534517595
Pub. Date:
07/28/2002
Publisher:
Wadsworth
Techniques and Materials of Music: From the Common Practice Period Through the Twentieth Century / Edition 6

Techniques and Materials of Music: From the Common Practice Period Through the Twentieth Century / Edition 6

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Overview

New edition of a text intended for the first two years of college theory courses, not including ear training and sight-singing. Benjamin (Peabody Conservatory), and Michael Horvit and Robert Nelson of the Moores School of Music cover the rudiments of music (although the entering student lacking a strong background might need a preliminary, more fundamental course); the harmonic, melodic, rhythmic, and basic formal elements; and an introduction to compositional techniques developed during the 20th century. A final section summarizes topics introduced throughout the text such as doubling, voice leading, chord-choice criteria, textures, formal structures, analytical procedures, and others. The authors suggest that the text be used together with an anthology of musical examples in order to focus on the music itself. Annotation c. Book News, Inc., Portland, OR

Product Details

ISBN-13: 9780534517595
Publisher: Wadsworth
Publication date: 07/28/2002
Series: Music Ser.
Edition description: Older Edition
Pages: 312
Product dimensions: 8.26(w) x 10.35(h) x 0.67(d)

About the Author

Thomas E. Benjamin has recently retired as Chair of the Department of Music Theory at the Peabody Conservatory of the Johns Hopkins University. A composer, conductor, performer, and music theorist with more than 40 compositions published and recorded, he also holds fellowships and awards from the MacDowell Colony, Yaddo, and the National Endowment for the Arts.


Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan and Israel. In addition to CDs with the Albany label, he has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern and Transcontinental. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.


Robert Nelson teaches music theory and composition at the Moores School of Music at the University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he also has received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra.

Table of Contents

Prefaceix
Suggestions to the Instructorxi
Part IRudiments
1The Great Staff and Piano Keyboard3
2Accidentals4
3Intervals6
4Major and Minor Scales13
5Key Signatures15
6Triads17
7Meter and Rhythm19
Part IIDiatonic Materials
1Triads in Root Position33
2The Tonic Triad in Root Position37
3Connection of Tonic and Dominant Triads in Root Position40
4The Dominant Seventh Chord in Root Position45
5Connection of Tonic and Subdominant Triads in Root Position52
6Connection of Subdominant and Dominant Triads in Root Position53
7Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position56
8The Cadential Tonic Six-Four Chord59
9Tonic, Subdominant, and Dominant Triads in First Inversion63
10The Supertonic Triad72
11Inversions of the Dominant Seventh Chord78
12Linear (Embellishing) Six-Four and Other Chords85
13Submediant and Mediant Triads in Root Position and First Inversion89
14The Leading Tone Triad95
15Variant Qualities of Triads99
16The Sequence107
17The Supertonic Seventh Chord112
18The Leading Tone Seventh Chord117
19Other Diatonic Seventh Chords123
Part IIIChromatic Materials
1Secondary (Applied, Borrowed) Dominants129
2Modulation136
3Linear (Embellishing) Diminished Seventh Chords143
4The Neapolitan Triad149
5Augmented Sixth Chords154
6Modulation by Other Means161
7Ninth Chords165
Part IVTwentieth-Century Materials
1Twentieth-Century Techniques: General Comments171
2Further Comments for Analysis173
3Rhythmic and Metric Devices177
4Tertian Harmony181
5The Diatonic (Church) Modes186
6Pandiatonicism189
7Exotic (Artificial, Synthetic) Scales192
8Quartal and Secondal Harmony196
9Polyharmony and Polytonality199
10Intervals in Twentieth-Century Music203
11Twelve-Tone Serialism208
12Additional Contemporary Procedures214
Part VReference Materials
1Musical Calligraphy219
2The Harmonic Series221
3Nonharmonic (Nonchord) Tones222
4Relative and Linear Motion224
5Guidelines for Voice Leading in Strict Four-Part Writing225
6Guidelines for Doubling in Strict Four-Part Writing227
7Checklist for Part-Writing228
8Chord Functions in Tonal Music229
9Figured-Bass Symbols232
10Procedure for Harmonizing a Figured Bass234
11Procedure for Harmonizing a Melody236
12Models for Expansion and Elaboration240
13Cadence and Phrase Structure242
14Typical Phrase Variants243
15The Motive245
16The Sequence251
17Textures255
18An Introduction to Tonal Melody259
19An Introduction to Tonal Counterpoint264
20Form272
21Checklist for Analysis279
22Composition Checklist284
23Instrumental Ranges and Transpositions286
Bibliography289
Index291

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