Authors: Jane Piper Clendinning, Elizabeth West Marvin, Elizabeth West Marvin
ISBN-13: 9780393976526, ISBN-10: 0393976521
Format: Hardcover
Publisher: Norton, W. W. & Company, Inc.
Date Published: June 2004
Edition: 1st Edition
Jane Piper Clendinning is professor of music theory at the Florida State University College of Music. Professor Clendinning has published articles reflecting her interests in the history of theory, theory and analysis of twentieth-century music, computer pitch recognition, and computer applications in music theory. She teaches courses in eighteenth-century counterpoint, music since World War II, popular and world music analysis, music theory pedagogy, and accelerated undergraduate music theory. She has served as chair of the Advanced Placement Music Theory Test Development Committee, and as an AP reader, and is a regular consultant at AP Summer Workshops and Institutes.
Elizabeth West Marvin is professor of music theory and former dean of academic affairs at the Eastman School of Music. She has published in the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance. She teaches courses in music theory pedagogy, music cognition, and analytical techniques for performers. Her articles and reviews appear in numerous journals, including Music Perception, Music Theory Spectrum, Journal of Music Theory, Theory and Practice. She is a past president of the Society for Music Theory. She is currently a member of the Advanced Placement Music Theory Test Development Committee and serves as an AP reader.
Emphasizing real music and music-making, The Musician’s Guide to Theory and Analysis gives students the hands-on tools they need to learn how music works.
Part I | Building a Musical Vocabulary: Basic Elements of Pitch and Rhythm | |
1 | Pitch and Pitch Class | 2 |
2 | Beat, Meter, and Rhythm: Simple Meters | 19 |
3 | Pitch Collections, Scales, and Major Keys | 38 |
4 | Minor Keys and the Diatonic Modes | 54 |
5 | Beat, Meter, and Rhythm: Compound Meters | 78 |
6 | Pitch Intervals | 94 |
7 | Triads and Seventh Chords | 112 |
Part II | Linking Musical Elements in Time | |
8 | Intervals in Action (Two-Voice Composition) | 134 |
9 | Melodic and Rhythmic Embellishment in Two-Voice Composition | 153 |
10 | Notation and Scoring | 172 |
11 | Voicing Chords in Multiple Parts: Instrumentation | 183 |
Part III | The Phrase Model | |
12 | The Basic Phrase Model: Tonic and Dominant Voice-Leading | 198 |
13 | Embellishing Tones | 220 |
14 | Chorale Harmonization and Figured Bass | 235 |
15 | Expanding the Basic Phrase: Leading-Tone, Predominant, and 6/4 Chords | 250 |
16 | Further Expansions of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad | 276 |
17 | The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody | 298 |
18 | Diatonic Sequences | 323 |
19 | Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords | 350 |
20 | Phrase Rhythm and Motivic Analysis | 372 |
Part IV | Further Expansion of the Harmonic Vocabulary | |
21 | Tonicizing Scale Degrees Other Than V | 396 |
22 | Modulation to Closely Related Keys | 418 |
23 | Binary and Ternary Forms | 440 |
24 | Color and Drama in Composition: Modal Mixture and Chromatic Mediants and Submediants | 457 |
25 | Chromatic Approaches to V: The Neapolitan Sixth and Augmented Sixths | 478 |
Part V | Musical Form and Interpretation | |
26 | Popular Song and Art Song | 508 |
27 | Variation and Rondo | 530 |
28 | Sonata-Form Movements | 551 |
29 | Chromaticism | 574 |
Part VI | Into the Twentreth Century | |
30 | Modes, Scales, and Sets | 614 |
31 | Music Analysis with Sets | 635 |
32 | Sets and Set Classes | 653 |
33 | Ordered Segments and Serialism | 671 |
34 | Twelve-Tone Rows and the Row Matrix | 685 |
35 | New Ways to Organize Rhythm, Meter, and Duration | 698 |
36 | New Ways to Articulate Musical Form | 725 |
37 | The Composer's Materials Today | 745 |
Appendixes | ||
1 | Try it Answers | A3 |
2 | Glossary | A55 |
3 | Guidelines for Part-Writing | A77 |
4 | Ranges of Orchestral Instruments | A81 |
5 | Set-Class Table | A85 |