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The Musician's Guide to Theory and Analysis » (1st Edition)

Book cover image of The Musician's Guide to Theory and Analysis by Jane Piper Clendinning

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

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Author Biography: Jane Piper Clendinning

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.

Book Synopsis

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.

Table of Contents

Part IBuilding a Musical Vocabulary: Basic Elements of Pitch and Rhythm
1Pitch and Pitch Class2
2Beat, Meter, and Rhythm: Simple Meters19
3Pitch Collections, Scales, and Major Keys38
4Minor Keys and the Diatonic Modes54
5Beat, Meter, and Rhythm: Compound Meters78
6Pitch Intervals94
7Triads and Seventh Chords112
Part IILinking Musical Elements in Time
8Intervals in Action (Two-Voice Composition)134
9Melodic and Rhythmic Embellishment in Two-Voice Composition153
10Notation and Scoring172
11Voicing Chords in Multiple Parts: Instrumentation183
Part IIIThe Phrase Model
12The Basic Phrase Model: Tonic and Dominant Voice-Leading198
13Embellishing Tones220
14Chorale Harmonization and Figured Bass235
15Expanding the Basic Phrase: Leading-Tone, Predominant, and 6/4 Chords250
16Further Expansions of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad276
17The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody298
18Diatonic Sequences323
19Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords350
20Phrase Rhythm and Motivic Analysis372
Part IVFurther Expansion of the Harmonic Vocabulary
21Tonicizing Scale Degrees Other Than V396
22Modulation to Closely Related Keys418
23Binary and Ternary Forms440
24Color and Drama in Composition: Modal Mixture and Chromatic Mediants and Submediants457
25Chromatic Approaches to V: The Neapolitan Sixth and Augmented Sixths478
Part VMusical Form and Interpretation
26Popular Song and Art Song508
27Variation and Rondo530
28Sonata-Form Movements551
29Chromaticism574
Part VIInto the Twentreth Century
30Modes, Scales, and Sets614
31Music Analysis with Sets635
32Sets and Set Classes653
33Ordered Segments and Serialism671
34Twelve-Tone Rows and the Row Matrix685
35New Ways to Organize Rhythm, Meter, and Duration698
36New Ways to Articulate Musical Form725
37The Composer's Materials Today745
Appendixes
1Try it AnswersA3
2GlossaryA55
3Guidelines for Part-WritingA77
4Ranges of Orchestral InstrumentsA81
5Set-Class TableA85

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