Theory of music and musicology Books

Book SynopsisA blueprint for boosting activism and building support for the causes you care about using fan-building tactics from the music industry and featuring the voices of today?s most passionate change-makers, from the bassist for AJR and founder of Planet Reimagined.From stadium acts to indie singer-songwriters, musicians have pioneered ways of sparking passion, building awareness, and catalyzing engagement. Now imagine if the causes you cared about?from the fight to protect the planet to campaigns promoting global health or LGBTQIA+ rights?had the same fervent support as your favorite artists.Adam Met, member of the multi-platinum band AJR, climate advocate, and educator, has firsthand experience growing a band from an audience of three or four to now selling out arenas. With award-winning journalist Heather Landy, he applies successful fan-building tactics to building up movements in exciting, innovative ways. Amplify shows how to smartly attract passionate supporters (i.e. fans) using the tactics of engagement, collaboration, and authentic connection, to inspire them to carry your message to the world and spur others to action.This movement-building manifesto includes cutting-edge research and strategies from today?s most effective organizers, engagers, and thinkers, including extensive interviews with:? Adam Grant (Wharton professor) on embracing disagreement within a movement.? Christiana Figueres (Paris Climate Agreement architect) on finding a path to solutions.? Andrew Yang (former U.S. presidential candidate) on becoming the front person for your ideas.? David Hogg (March for Our Lives co-founder) on the challenges in building a youth-led movement.? Sue Doster (NYC Pride co-chair) on keeping movements nimble and relevant.? Glenn Beck (conservative commentator) on finding common ground.? Jim Gaffigan (comedian) on setting and achieving goals.? Bill Nye (scientist and entertainer) on communication that connects with people.Amplify?sinnovative toolkit will help you find your voice and maximize your impact in the world of social progress to create the change you want to see.

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Book SynopsisDeleuze and Music is the first volume to explore Deleuze's ideas from the perspective of music and sound.Table of ContentsContents; Introduction: Deleuze and Music; Ian Buchanan; 1 Studies in Applied Nomadology: Jazz Improvisation and Post-Capitalist Markets; Eugene Holland; 2 Is Pop Music?; Greg Hainge; 3 Deleuze, Adorno, and the Composition of Musical Multiplicity; Nick Nesbitt; 4 Affect and Individuation in Popular Electronic Music; Drew Hemment; 5 Violence in Three Shades of Metal: Death, Doom and Black; Ronald Bogue; 6 Becoming-Music: The Rhizomatic Moment of Improvisation; Jeremy Gilbert; 7 Rhythm: Assemblage and Event; Phil Turetsky; 8 What I Hear is Thinking Too: The Deleuze Tribute Recordings; Timothy S. Murphy; 9 Music and the Socio-Historical Real: Rhythm, Series and Critique in Deleuze and O. Revault D'Allonnes; Jean-Godefroy Bidima; 10 Cosmic Strategies: The Electric Experiments of Miles Davis; Marcel Swiboda; Notes on Contributors; Index.

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Book SynopsisWhen it was first performed in October 1960, Shostakovich's Eighth String Quartet was greeted with a standing ovation and given a full encore. Its popularity has continued to the present day with over a hundred commercial recordings appearing during the last 40 years. The appeal of the work is not hard to identify; immediately communicative, the quartet also contains rich seams of deeper meaning. This book is the first to examine its musical design in detail and seeks to overthrow the charges of superficiality that have arisen as a result of the work's popular success. The core of this study is the close analysis of the work, but this is placed in context with a discussion of Shostakovich's reputation and historical position, the circumstances of the quartet's composition and the subsequent controversies that have surrounded it. The work was composed during the so-called 'Thaw' years of the Soviet Union, and the cultural and political backgrounds of this period are considered, toge

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Book SynopsisCritical Essays in Popular Musicology is an essential reference work which reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor Allan Moore. The volume is designed to improve access to the most significant, concise English-language writing, which articulates and demonstrates some of the key constituents of a popular musicology. It avoids those pieces which have been published in other collections. The essays are divided into two parts - those that articulate the key questions of popular musicology, which discuss contexts for addressing texts, and those that demonstrate the discipline in practice, which actually address those texts. This is a valuable volume for libraries expanding their collections in musicology and popular music studies and will provide scholars and graduate students with a convenient and authoritative reference source.Trade Review'...an exceptional collection of writings from the emerging field of popular music studies...a useful reference source...' Fontes Artis MusicaeTable of ContentsContents: Introduction; Part I Contexts for Addressing Texts: Theory: 'Black music', 'Afro-American music', and 'European music', Philip Tagg; A theory of musical competence, Gino Stefani; Can we get rid of the 'popular' in popular music?, a virtual symposium with contributions from the international advisory editors of Popular Music, Various; Browsing musical spaces: categories and the musical mind, Franco Fabbri; The high analysis of low music, Dai Griffiths; Second thoughts on a rock aesthetic: The Band, Andrew Chester; Why I'll never teach rock 'n' roll again, Sean MacCann; Authenticity as authentication, Allan Moore; Intertextuality and hypertextuality in recorded popular music, Serge Lacasse; From refrain to rave: the decline of figure and the rise of ground, Philip Tagg; What does it mean to analyse popular music?, Adam Krims; Music Theory: The formation of a musical style:early rock, Ronald Byrnside; Toward a theory of popular harmony, Peter K. Winkler; On aeolian harmony in contemporary popular music, Alf Björnberg; The so-called 'flattened seventh' in rock, Allan Moore ; Making sense of rock's tonal systems, Walter Everett; Incongruity and predictability in British dance-band music of the 1920s and 1930s, Derek B. Scott; Rhythm, rhyme and rhetoric in the music of Public Enemy, Robert Walser. Part II Addressing Texts: Fantastic remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia', Walter Everett; The Rutles and the use of specific models in musical satire, John R. Covach; The aesthetics of music video: an analysis of Madonna's 'Cherish', Carol Vernallis; 'Gently tender': the Incredible String Band's early albums, Charlie Ford; Cathy's homecoming and the other world: Kate Bush's 'Wuthering Heights', Nicky Losseff; Pulp, pornography and spectatorship: subject matter and subject position in Pulp's 'This is Hardcore', Nicola Dibben; Glamour and evasion: the fabulous ambivalence of the Pet Shop Boys, Fred E. Maus; Vicars of 'wannabe': authenticity and the Spice Girls, Elizabeth Eva Leach ; Oh Boy! (Oh Boy!): mutual desirability and musical structure in the buddy group, Barbara Bradby; Name index.

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Book SynopsisWhat makes Oiseaux exotiques so important is that it is arguably the first of Messiaen's major works to create a successful synthesis between his music and his passion for ornithology. The earliest composition to use birdsong to a significant extent was the Quatuor pour la fin du Temps (1940-41). A newspaper interview a few years later (France-Soir, 1948) demonstrates Messiaen's growing desire to move away from the stylization that had characterized the Quatuor towards a much greater realism, based on a close observation of birds in their natural habitat. At the same time, Messiaen continued to regard birdsong as music - and divinely inspired music at that - a belief that led for a time to an obsession with truth-to-nature. Against this background, Oiseaux exotiques proves to be a landmark, the work in which Messiaen the musician began to regain the upper hand over Messiaen the ornithologist. The introductory chapter (Chapter 1) outlines the background to Oiseaux exotiques, discussing Messiaen's relations with the 1950s avant garde - in particular with his former pupil Pierre Boulez - and his involvement with the concerts of the Domaine musical, for which Oiseaux exotiques was composed. In Chapter 2, access to Messiaen's sketches enables the authors to analyse his compositional methods in unprecedented detail; a generous number of music examples refer to birdsong recordings actually used by Messiaen (which can be heard on the accompanying CD), and trace step-by-step the evolution of musical ideas from first notation to finished score. Chapter 3 provides a commentary on the music, investigating issues of continuity and texture, and revealing the processes underlying the score's dazzling profusion. In two further chapters Peter Hill and Nigel Simeone recount the reception history of Oiseaux exotiques, and compare recorded interpretations, taking as their point of departure the historic premiere, included in full on the CD. Finally, the Conclusion considersTrade Review'In Olivier Messiaen: Oiseaux exotiques, Peter Hill and Nigel Simeone have provided a fascinating study that draws together several strands of musicological research, including source studies, reception history, commentary and analysis. This beautifully written book is an original and fascinating exploration of the surprising alliance of music and nature by one of the twentieth century's most underrated composers. It is the first study to present new material from Messiaen's cahiers, and its commentary to the music on the accompanying CD makes this book a tremendously engaging read. Against the context of music in Paris and Messiaen's personal life, the authors present a systematic and comprehensive study of the piece in which Messiaen's birdsong style ceases to be mere transcription and becomes an integral part of his musical language. Olivier Messiaen: Oiseaux exotiques joins a small number of books that both break new scholarly ground and also appeal to general readers-in particular, those willing to listen to Messiaen's music with spirit and with understanding.' Andrew Shenton, Boston University, author of Olivier Messiaen's System of Signs. ’Olivier Messiaen: Oiseaux exotiques shows Ashgate's ongoing commitment to the work of Messiaen and the well-honed team of Hill and Simeone provide a highly readable and communicable account of this seminal work...pitched ideally and is approachable from enthusiasts as well as students and academia. The book is presented in the usual high quality Ashgate style with beautifully set musical examples’ www.oliviermessiaen.org ’... intelligence, common sense and musical insight do all that is required.’ (Five star rating) BBC Music Magazine ’... an ideal subject for Ashgate's 'Landmarks in Music Since 1950' series, while the combination of Hill and Smeone is, to put it mildly, an extremely effective marriage of talents. Although doubtless an over-simplification, Hill takes the lead in the musical commentary, drawingTable of ContentsContents: Introduction; Context; Birdsong and sketches; Commentary; First performance, reception and publication; Interpretations; Postscript; Appendix A:the birds in Oiseaux exotiques; Bibliography; Discography; CD track list; Index.

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Book SynopsisA fascinating aspect of the study of music in medieval Islamic and Judaic writings is the broad and interdisciplinary nature of the works and treatises in which it is covered. In addition, such works verbalize an art that was transmitted orally and took shape spontaneously, typically with improvisation during performance. As a result of this outlook the musical concept (or science) is often intertwined with practice (or history). This second collection by Amnon Shiloah brings together twenty-two studies exemplifying such multi-faceted viewpoints on the world of sounds and its virtue. The first studies concern the origin and originators of music and to how its essential constituents came into being; included here is the art of dance along with the controversial attitudes towards it. Next comes the symbolic, philosophical and metaphorical interpretation of music; one of the major ideas epitomizing this approach claimed that the pursuit of knowledge is the path to human perfection and haTrade Review'... this is a valuable collection. Shiloah's concise and clear survey articles provide particularly useful teaching material. Much of the material covered here touches on topics of continuing wide interest such as music in the Bible and the place of music in Islam. For the specialist scholar, Shiloah's meticulous exploration of texts puts valuable but little known material into the public forum. Finally, his inclusion of Jewish and Arabic materials side by side reminds the reader of important musical and scholarly relationships and interactions, which are all too easily overlooked by scholars without the rare linguistic expertise to explore both these musical, scholarly and religious canons side by side.' Ethnomusicology ForumTable of ContentsContents: Preface; Part 1 Theories of Origins: The beginning of things: theories of origins in Arabic and Hebrew sources; A passage by Immanuel ha-Romi on the science of music; Biblical references to music as interpreted in Arabic treatises; The davidic traditions concerning music; The singing birds; Réflexions sur la danse artistique musulmane au moyen âge. Part 2 The Symbolic, Philosophical and Metaphorical Interpretation of Music: L' approche humaniste et métaphorique dans les premiers écrits arabes sur la musique; La musique entre le divin et le terrestre; 'Ên-kol' - commentaire hébraïque de Å em Tov ibn Å aprût sur le canon d' Avicenne; Jewish and Muslim traditions of music therapy. Part 3 The Transmission of Musical Knowledge: Qalonimus ben Qalonimus, 'Ma'amar be-mispar ha-hokhmôt'; Musical concepts in the works of Saadia Gaon; Some comments of the cantillation of the 10 Commandments; A propos d' un 'petit livre arabe de musique' (with A. Berthier); Notions d' esthétique dans les traités arabes sur la musique; L' évolution de la vocalité et de la technique vocale dans les traités anciens de la musique arabe. Part 4 The Ideological Attitude Towards Music: Music and religion in Islam; Maïmonide et la musique. Part 5 Music in Contact: The Romaniot musical tradition (revised version); Development of Jewish liturgical singing in Spain; Muslim and Jewish musical traditions in the Middle Ages; Andalusian instruments of music and instruments of entertainment; Index.

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Book SynopsisWith a discography of over 1000 songs, 20 musicals and three motion pictures, the Lebanese singer and performer, Fairouz, is an artist of pan-Arab appeal, who has connected with listeners from diverse backgrounds and geographies for over four often tumultuous decades.In this book, Dima Issa explores the role of Fairouz's music in creating a sense of Arab identity amidst changing political, economic context. Based on two years of research including 60 interviews, it takes an ethnographic approach, focussing on audience reception of Fairouz's music among the Arab diasporas of London and Doha. It shows that for discussants, talking about Fairouz meant discussing diasporic life, bringing to the surface notions of Arabness and authenticity, presence and absence, naturalization and citizenship, and the issue of gender. Conversations with the research respondents shed light on the idea of iltizam (commitment), or how members of the Arab diaspora hold on to attributes that th

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Book SynopsisThis study of Music and Music Activities in Ibero-America to 1850 emphasizes historical data rather than musical analysis. Folk and popular music are mentioned only to the extent that they have affected the cultivated strains of Ibero-American music. Of interest to music historians and students of Ibero-American culture.Trade Review...fills an important lacuna, in presenting a broad historical survey of the cultivation of music in Latin America from its discovery and settlement by Europeans to the beginnings of the modern age in 1850....Mendoza de Arce has made an important contribution in presenting in English so much information that was hitherto inaccessible to those who do not read Spanish and Portuguese, and indeed this book is indispensable for those interested in the musical history of the Western hemisphere. * Luso-Brazilian Review *...an extensive and detailed summary of the entire range of European and Creole musical life in Spanish and Portuguese America...no other publication has ever covered the colonial and early independent periods in Latin America with the same immense breadth of geographical coverage...Music in Ibero-America to 1850 is a pioneering effort that is certain to be of use to a wide range of individuals and institutions and should spark additional interest in the topic. * Notes: Quarterly Journal of the Music Library Association *Table of ContentsChapter 1 ACKNOWLEDGMENTS Chapter 2 PREFACE Chapter 3 INTRODUCTION Chapter 4 PART 1 The Sixteenth and Seventeenth Centuries, 1492-1700 Chapter 5 CHAPTER 1 Music from the Age of Discovery to 1700: Missionary Activity Chapter 6 CHAPTER 2 Cathedral Music Chapter 7 CHAPTER 3 Secular Music Chapter 8 PART 2 The Eighteenth Century, 1700-1800 Chapter 9 CHAPTER 4 Music in the Eighteenth Century: Military, Ceremonial, and Stage Music Chapter 10 CHAPTER 5 Chamber and Domestic Music, Public Concerts and Orchestral Music Chapter 11 CHAPTER 6 Religious Music: Music in the Cathedrals Chapter 12 CHAPTER 7 Music in the Confraternities and Missions Chapter 13 PART 3 The First Half of the Nineteenth Century, 1800-1850 Chapter 14 CHAPTER 8 Music in the Nineteenth Century to 1850: Outdoor, Patriotic, and Military Music Chapter 15 CHAPTER 9 Public Concerts and Orchestral Music, Salon and Chamber Music Chapter 16 CHAPTER 10 Theatrical Music Chapter 17 CHAPTER 11 Religious Music Chapter 18 CHAPTER 12 Music Education, Music Business, and Music Printing Chapter 19 NOTES Chapter 20 SOURCES Chapter 21 NAME INDEX Chapter 22 SUBJECT INDEX Chapter 23 ABOUT THE AUTHOR

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Book SynopsisWhile the refrain is a frequent and important feature of folk singing, little has been written on it and what it can achieve. Balkan Refrain: Form and Tradition in European Folk Song attempts to establish what refrain actually is and how it can be defined in folk and scholarly practice based on musical examples from Serbia, Montenegro, and the Republic of Srpska, with the aim of finding general rules applicable to refrains in the songs of other nations. The refrain is observed from musical and linguistic perspectives, as well as its religious, social, and economical uses. As refrain is so important in songs, special attention is devoted to its role in the development of singing. Dimitrije O. Golemovic examines various forms of refrains and their constructive role in singing, and he establishes a terminology based on several characteristics of refrains, such as their role in the song and its place within the melopoetic unit. Golemovic also takes the view that refrain can be a specific code in the song that marks its melody, and he supports this with a number of examples, both ancient and more recent. Also discussed is the relationship between refrain and movement in songs accompanying dance and the role of refrain in commercializing newly-composed folk music. The book includes notes, a bibliography, 190 musical examples, and an audio CD of traditional folk songs as well as some examples of newly composed folk songs.

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Book SynopsisThis full-score anthology for Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Period Music supports the textbook of the same name, the first book to present a comprehensive course text on advanced analysis of rhythm and meter. From the Baroque to the Romantic era, Hearing Rhythm and Meter emphasizes listening, enabling students to recognize meters and metrical dissonances by type both with and without the score. Found here are masterworks carefully chosen as the ideal context for the presentation of foundational concepts.PURCHASING OPTIONSTextbook (Print Paperback): 978-0-8153-8448-9Textbook (Print Hardback): 978-0-8153-8447-2Textbook (eBook): 978-1-351-20431-6Anthology (Print Paperback): 978-0-8153-9176-0Anthology (Print Hardback): 978-0-367-34924-0Table of ContentsJ. S. Bach, Two-Part Inventions, No. 13 in A Minor / J. S. Bach, The Well-Tempered Clavier, Book I, Fugue in B Major / J. S. Bach, Partita in C Minor, BWV 826, Sarabande / Ludwig van Beethoven, Piano Sonata F Minor, Op. 2, No. 1, I/ Ludwig van Beethoven, Symphony No. 3 in E-flat Major, I / Ludwig van Beethoven, Symphony No. 7 in A Major, III, Scherzo / Ludwig van Beethoven, Symphony No. 9 in D Minor, II, Scherzo / Johannes Brahms, Variations on a Theme by Haydn / Johannes Brahms, Symphony No. 4 in E Minor, IV / G. F. Handel, Giulio Cesare, I/6, "L’empio, sleale, indegno" / English translation of "L’empio, sleale, indegno" / F. J. Haydn, Piano Sonata in C minor, Hob. XVI: 20, I / F. J. Haydn, Symphony No. 101 in D Major, IV / F. J. Haydn, Symphony No. 103 in E-flat Major, I / Fanny Hendel, Sechs Lieder, Op. 1, No. 1, "Schwanenlied" / Fanny Hendel, Sechs Lieder, Op. 1, No. 4, "Mayenlied" / English translations of the Hensel Lieder / W. A. Mozart, Piano Sonata in B-Flat Major, K. 333, III / W. A. Mozart, String Quintet No. 3, K. 516, III / W. A. Mozart, Symphony No. 40 in G Minor, I / W. A. Mozart, Symphony No. 40 in G Minor, III, Menuetto / Alessandro Scarlatti, L’honestà negli amori, "Già il sole dal Gange" / English translation of "Già il sole dal Gange" / Franz Schubert, "Kennst du das Land?" / English translation of "Kennst du das Land?" / Robert Schumann, Carnaval, "Eusebius" / Robert Schumann, String Quartet Op. 41, No. 1, I / Robert Schumann, String Quartet Op. 41, No. 2, II / Richard Strauss, "Morgen" / English translations of "Morgen" and "Verborgenheit" / Hugo Wolf, "Verborgenheit"

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Book SynopsisWhen the Motor City 5 stormed the stage, the band combined the kinetic flash of James Brown with the raw musical dynamics of the Who gone berserk. Frequently ridiculed, they've been hailed as a primal influence on everything from punk to metal to Rage Against the Machine to the Detroit populist resurgence of the White Stripes, Kid Rock and Eminem.Trade Review"'A brilliant series of pocket-sized books focussing on a classic album. Each one a work of real love.' NME"

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Book SynopsisTheory for Todayâs Musician, Fourth Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to todayâs music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers.This broadly comprehensive text merges traditional topics such as part-writing and harmony (diatonic, chromatic, neo-tonal, and atonal), through literature-based analysis that is practical and accessible to students and instructors. It also covers less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony, and the blues. The accompanying companion website provides audio recordings and exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Todayâs Musician is the complete and ideal theory text to enable todayâs student to accomplish their musical goals tomorrow.Updated and corrected throughout, the Fourth Edition includes: Replacement of âœAssorted Preliminariesâ with âœPitch, Rhythm, Scales, and Keysâ as new Chapter 1 Revised coverage of atonality Interactive text features simplified to a single type: âœConcept Checksâ Answers to Concept Checks now provided (Appendix B) More women and minority composers represented Charts, illustrations, and musical examples revised and clarified Audio of musical examples improved and provided through the companion website The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. Online Instructor and Student Resources also support the textbook and workbook, including: For students: online tutorials with drills of basic concepts, as well as audio recordings of the musical examples. For instructors: An Instructorâs Manual with answer keys and guides to using the textbook and workbook in a course.

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Book SynopsisTheory for Todayâs Musician, Fourth Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to todayâs music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers.This broadly comprehensive text merges traditional topics such as part-writing and harmony (diatonic, chromatic, neo-tonal and atonal), through literature-based analysis that is practical and accessible to students and instructors. It also covers less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. The accompanying companion website provides audio recordings and exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Todayâs Musician is the complete and ideal theory text to enable todayâs student to accomplish their musical goals tomorrow.Updated and corrected throughout, the Fourth Edition includes: Updated repertoire, with new examples incorporated throughout the book, including more music by contemporary composers, by women, and by composers of color Updated online resources including additional audio recordings and exercises, with QR codes in the book linking directly to online resources. Improved and clarified coverage of serial and non-serial atonality, making it practical and student friendly Interactive features have been simplified Concept checks now include answer keys The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. Online Instructor and Student Resources also support the textbook and workbook, including: For students: online tutorials with drills of basic concepts, as well as audio recordings of the musical examples For instructors: An Instructorâs Manual with answer keys and guides to using the textbook and workbook in a course. This discounted textbook and workbook PACKAGE (978-1-041-04383-6) contains both the textbook and the workbook: Theory for Today's Musician, Fourth Edition TEXTBOOK (HB: 978-1-032-51995-1) Theory for Today's Musician, Fourth Edition WORKBOOK (PB: 978-1-032-51991-3)

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Book SynopsisTheory Essentials for Today's Musician offers a review of music theory that speaks directly and engagingly to modern students. Rooted in the tested pedagogy of Theory for Today's Musician, the authors have distilled and reorganized the concepts from the thirty-three chapters of their original textbook into twenty-one succinct, modular chapters that move from the core elements of harmony to further topics in form and 20th-century music. A broad coverage of topics and musicals stylesincluding examples drawn from popular musicis organized into four key parts: Basic Tools Chromatic Harmony Form and Analysis The 20th Century and Beyond Theory Essentials features clear and jargon-free (yet rigorous) explanations appropriate for students at all levels, ensuring comprehension of concepts that are often confusing or obscure. An accompanying workbook proviTable of ContentsPART ONE: BASIC TOOLSChaper 1: Elements of Diatonic Harmony Chapter 2: Cadences and Harmonic RhythmChapter 3: The Outer-Voice Framework/Embellishing Tones Chapter 4: Part Writing and Chorale Analysis I Chapter 5: Part Writing and Chorale Analysis II Chapter 6: Part Writing and Chorale Analysis III PART TWO: CHROMATIC HARMONYChapter 7: Secondary FunctionChapter 8: Modulation IChapter 9: Mixing Modes Chapter 10: Altered Pre-Dominants and Dominants Chapter 11: Modulation IIChapter 12: Harmonic Extensions and Chromatic Techniques PART THREE: FORM AND ANALYSISChapter 13: Melodic Form Chapter 14: Contrapuntal Forms Chapter 15: Small FormsChapter 16: Sonata FormChapter 17: RondoPART FOUR: THE 20TH CENTURY AND BEYONDChapter 18: Syntax and Vocabulary Chapter 19: New Tonal Methods Chapter 20: Non-Serial AtonalityChapter 21: Serial Atonality Appendix A: Scales and Intervals Appendix B: Rhythm Appendix C: Basic Harmonic Structures Appendix D: Part-Writing Guidelines

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Book SynopsisMaterials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: chapters revised throughout to include new examples from recent music and insights from the latest scholarship; the introduction of several new concepts and topics, including parsimonius voice-leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; expanded discussions of spectralism and electronic music; timelines in each chapter, grounding the music discussed in its chronological context;Table of Contents1. THE TWILIGHT OF THE TONAL SYSTEM 2. SCALE FORMATIONS IN POST-TONAL MUSIC 3. THE VERTICAL DIMENSION: CHORDS AND SIMULTANEITIES 4. THE HORIZONTAL DIMENSION: MELODY AND VOICE LEADING 5. HARMONIC PROGRESSION AND TONALITY 6. DEVELOPMENTS IN RHYTHM 7. FORM IN POST-TONAL MUSIC 8. IMPORTS AND ALLUSIONS 9. NONSERIAL ATONALITY 10. CLASSICAL SERIALISM 11. TIMBRE AND TEXTURE: ACOUSTIC 12. TIMBRE AND TEXTURE: ELECTRONIC 13. SERIALISM AFTER 1945 14. THE ROLES OF CHANCE AND CHOICE IN POST-TONAL MUSIC 15. MINIMALISM AND BEYOND APPENDIX: PRIME FORMS, FORTE LABELS, AND INTERVAL-CLASS VECTORS

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