Analyse de la musique tonale : une approche Schenkerian
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Analyse de la musique tonale : une approche Schenkerian
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Numéro de l'objet eBay :134445488932
Dernière mise à jour le 06 août 2024 00:10:23 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Book Title
- Analysis of Tonal Music: A Schenkerian Approach
- ISBN
- 9780199732470
À propos de ce produit
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199732477
ISBN-13
9780199732470
eBay Product ID (ePID)
92920910
Product Key Features
Number of Pages
448 Pages
Publication Name
Analysis of Tonal Music : a Schenkerian Approach
Language
English
Subject
General, Instruction & Study / Theory
Publication Year
2010
Type
Textbook
Subject Area
Music
Format
Hardcover
Dimensions
Item Height
1 in
Item Weight
70.5 Oz
Item Length
7.2 in
Item Width
10 in
Additional Product Features
Edition Number
3
Intended Audience
College Audience
LCCN
2010-030653
Dewey Edition
22
Reviews
"The third edition of Analysis of Tonal Music brings improvements and clarifications to a textbook that already is the most well-grounded, authoritative source. . . . The text presents an authentic understanding of the tradition of Schenker's theory; it far supersedes any competitors, and it is the only Schenkerian text I recommend."--Frank Samarotto, Indiana University"The greatest strengths of this textbook are its attractive and engaging writing style, its well-paced introduction to essential concepts, its care and attention to musical details beyond reduction to archetype, and its well-chosen excerpts for analytical demonstration. . . . The book covers all the topics I introduce to students and does so in a thoughtful, clear manner. It provides a firm foundation upon which students can develop their hearing and thinkingabout music from a Schenkerian perspective."--Michael Baker, University of Kentucky, "The third edition of Analysis of Tonal Music brings improvements and clarifications to a textbook that already is the most well-grounded, authoritative source. . . . The text presents an authentic understanding of the tradition of Schenker's theory; it far supersedes any competitors, and it is the only Schenkerian text I recommend."--Frank Samarotto, Indiana University "The greatest strengths of this textbook are its attractive and engaging writing style, its well-paced introduction to essential concepts, its care and attention to musical details beyond reduction to archetype, and its well-chosen excerpts for analytical demonstration. . . . The book covers all the topics I introduce to students and does so in a thoughtful, clear manner. It provides a firm foundation upon which students can develop their hearing and thinking about music from a Schenkerian perspective."--Michael Baker, University of Kentucky, "The third edition of Analysis of Tonal Music brings improvements and clarifications to a textbook that already is the most well-grounded, authoritative source. . . . The text presents an authentic understanding of the tradition of Schenker's theory; it far supersedes any competitors, and it is the only Schenkerian text I recommend."--Frank Samarotto, Indiana University"The greatest strengths of this textbook are its attractive and engaging writing style, its well-paced introduction to essential concepts, its care and attention to musical details beyond reduction to archetype, and its well-chosen excerpts for analytical demonstration. . . . The book covers all the topics I introduce to students and does so in a thoughtful, clear manner. It provides a firm foundation upon which students can develop their hearing and thinking about music from a Schenkerian perspective."--Michael Baker, University of Kentucky, "The third edition ofAnalysis of Tonal Musicbrings improvements and clarifications to a textbook that already is the most well-grounded, authoritative source. . . . The text presents an authentic understanding of the tradition of Schenker's theory; it far supersedes any competitors, and it is the only Schenkerian text I recommend."--Frank Samarotto,Indiana University "The greatest strengths of this textbook are its attractive and engaging writing style, its well-paced introduction to essential concepts, its care and attention to musical details beyond reduction to archetype, and its well-chosen excerpts for analytical demonstration. . . . The book covers all the topics I introduce to students and does so in a thoughtful, clear manner. It provides a firm foundation upon which students can develop their hearing and thinking about music from a Schenkerian perspective."--Michael Baker,University of Kentucky
Number of Volumes
1 vol.
Illustrated
Yes
Dewey Decimal
781
Table Of Content
Preface PART 1: BASIC PRINCIPLES 1. Introduction Beethoven, Piano Sonata, Op. 2, No. 1, I 2. Melody and Counterpoint Some Characteristics of Melody Counterpoint Structural Melody 3. Bass Lines and Harmonic Structure Tonic Harmony (T Class) Intermediate Harmonies (Int Class) Dominant Harmony (D Class) Larger Contexts Chord Prolongation: Summary 4. Linear Techniques Linear Progressions Linear Intervallic Patterns The Neighbor Note Linear Intervallic Patterns: Summary 5. Tonal Structure Notational Symbols Tonal Structure and the Ursatz The Bass Arpeggiation (Bassbrechung) The Fundamental Line (Urlinie) Structural Levels The Principle of Interruption More on the Ursatz 6. Techniques of Melodic Prolongation The Initial Ascent The Arpeggiated Ascent Unfolding Motion into an Inner Voice Motion from an Inner Voice Voice Exchange Shift of Register Descending and Ascending Register Transfer Coupling Superposition Reaching Over Cover Tone Substitution The Phrygian 2 Mixture of Scale Degree 3 Techniques in Combination 7. Some Basic Elaborations of Fundamental Structures Mozart, Piano Sonata, K. 283, I, bars 1-16 Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8 Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8 Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16 Mozart, Piano Concerto, K. 488, II, bars 1-12 Beethoven, Piano Sonata, Op. 14, No. 3, Second Theme, bars 26-47 Some Points for Review PART 2: ANALYTICAL APPLICATIONS 8. One-Part Forms Bach, Prelude in C major (WTC I) Schubert, "Wandrers Nachtlied" Schumann, "Lieb' Liebchen" 9. Binary Forms Handel, Suite No. 5 in D minor, HWV 436, Menuetto Bach, "Little" Prelude in C major, BWV 933, Menuetto Corelli, Violin Sonata, Op. 5, No. 10, Gavotte Bach, Flute Sonata No. 2, Minuet 1 Haydn, Piano Sonata, Hob. XVI/43, Minuet 2 Mozart, Symphony No. 35, K. 385, Trio Auxiliary Cadences 10. Ternary Forms and Rondo Beethoven, Bagatelle, Op. 119, No. 1 Mendelssohn, Song Without Words, Op. 62, No. 1 Schubert, Moment Musical, Op. 94, No. 2 Haydn, Piano Sonata, Hob XVI/37, III Brahms, Intermezzo, Op. 119, No. 2 11. Sonata Principle Clementi, Sonatina, Op. 36, No. 1, I Mozart, Symphony No. 35, ("Haffner"), K. 385, II Mozart, Piano Sonata, K. 457, I 12. Some Common Tonal Patterns and Procedures Introduction Binary Forms Ternary Forms Sonata Principle Prolongational Spans Mixture and Large-Scale Tonal Plans Appendix: Introduction to Graphic Notation Open Noteheads Slurs and Filled-in Noteheads Beams Broken Ties Stems with Flags Diagonal Lines Diagonal Lines and Beams Rhythmic Notation at Lower Levels Roman Numerals Sample Graphic Analyses for Study Notes Selected Bibliography Index of Musical Examples Index of Subjects
Synopsis
Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagn use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis., Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis., Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how tothink about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music.Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions ofmelody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and abibliography.NEW TO THE THIRD EDITION* Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2* Provides enhanced discussions of harmonic structure andof the imaginary continuo as a tool for analysis (Chapter 3)* Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure* Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10* Features a completely revised concluding chapter that discussesSchenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides studentssystematically through the process of analysis., Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music., Analysis of Tonal Music: A Schenkerian Approach, Third Edition, introduces the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of Western art music. Part I covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part II presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs-many new to this edition-an appendix on graphic notation, and a bibliography.
LC Classification Number
MT6.C12A53 2011
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