{"product_id":"understanding-posttonal-music-9780367355357","title":"Understanding PostTonal Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eUnderstanding Post-Tonal Music\u003c\/em\u003e is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, \u003ci\u003eUnderstanding Post-Tonal Music\u003c\/i\u003e leads students to greater understanding and appreciation of this challenging and important repertoire. \u003c\/p\u003e\u003cp\u003eThe updated second edition includes new Explorations features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. T\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIntroduction: An Overview of Twentieth Century Compositional Styles \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Century of Plurality: Tonal, Post-tonal, Atonal, and Other Styles\u003c\/p\u003e\u003cp\u003eThe Stylistic Mosaic\u003c\/p\u003e\u003cp\u003eChapter 1. Pitch Centricity and Composition with Motivic Cells \u003c\/p\u003e\u003cp\u003ePitch Centricity\u003c\/p\u003e\u003cp\u003eDiatonic Collections\u003c\/p\u003e\u003cp\u003ePentatonic Collections\u003c\/p\u003e\u003cp\u003eAnalysis 1.1. Debussy, \"La cathédrale engloutie,\" from \u003ci\u003ePreludes\u003c\/i\u003e, Book I (Anthology, no. 1)\u003c\/p\u003e\u003cp\u003eAnalysis 1.2. Stravinsky, Introduction to Part I, from \u003ci\u003eThe Rite of Spring\u003c\/i\u003e (Anthology, no. 4)\u003c\/p\u003e\u003cp\u003eChapter 2. Pitch Centricity, Equal Divisions of the Octave, and Symmetry \u003c\/p\u003e\u003cp\u003eInterval Cycles and Equal Divisions of the Octave\u003c\/p\u003e\u003cp\u003eSymmetrical Motivic Cells\u003c\/p\u003e\u003cp\u003eSymmetry Around an Axis\u003c\/p\u003e\u003cp\u003eSymmetrical Scales\u003c\/p\u003e\u003cp\u003eAnalysis 2.1. Bartók, \"Song of the Harvest,\" from \u003ci\u003eForty-four Violin Duets\u003c\/i\u003e (Anthology, no. 5)\u003c\/p\u003e\u003cp\u003eAnalysis 2.2. Bartók, \"Whole-tone Scale,\" from \u003ci\u003eMikrokosmos\u003c\/i\u003e, Vol. 5 (Anthology, no. 6)\u003c\/p\u003e\u003cp\u003eChapter 3. Introduction to Pitch-Class-Set Theory \u003c\/p\u003e\u003cp\u003ePreliminary Concepts\u003c\/p\u003e\u003cp\u003ePitch-Class Sets: Orderings and Basic Relationships\u003c\/p\u003e\u003cp\u003ePitch-Class Sets: Further Properties and Relationships\u003c\/p\u003e\u003cp\u003ePitch-Class Set Theory: A Summary\u003c\/p\u003e\u003cp\u003eChapter 4. Analyzing Atonal Music \u003c\/p\u003e\u003cp\u003eAnalyzing Atonal Music\u003c\/p\u003e\u003cp\u003eAnalysis 4.1. Webern, \"Five Movements for String Quartet,\" Op. 5, III (Anthology, no. 10)\u003c\/p\u003e\u003cp\u003eAnalysis 4.2. Schoenberg \"Angst und Hoffen,\" No. 7 from \u003ci\u003eBook of the Hanging Gardens\u003c\/i\u003e, Op. 15 (Anthology, no. 11)\u003c\/p\u003e\u003cp\u003eChapter 5. Drawing on (and Reinterpreting) the Past . . . \u003c\/p\u003e\u003cp\u003eNeoclassicism\u003c\/p\u003e\u003cp\u003eAnalysis 5.1. Stravinsky, \u003ci\u003eAgnus Dei\u003c\/i\u003e, from Mass (Anthology, no. 13)\u003c\/p\u003e\u003cp\u003eHindemith’s Theoretical and Compositional Premises\u003c\/p\u003e\u003cp\u003eAnalysis 5.2. Hindemith, Interlude in G, from \u003ci\u003eLudus tonalis\u003c\/i\u003e (Anthology, no. 14)\u003c\/p\u003e\u003cp\u003eChapter 6. . . . And Inventing the Future \u003c\/p\u003e\u003cp\u003eUltramodern Aesthetics\u003c\/p\u003e\u003cp\u003eIves and Musical Borrowing\u003c\/p\u003e\u003cp\u003eAnalysis 6.1. Ives, \"The Cage\" (Anthology no. 16)\u003c\/p\u003e\u003cp\u003eAnalysis 6.2. Crawford, \u003ci\u003eDiaphonic Suite\u003c\/i\u003e No. 4, III (Anthology no. 17)\u003c\/p\u003e\u003cp\u003eChapter 7. Twelve-Tone Music I: An Introduction \u003c\/p\u003e\u003cp\u003eThe Twelve-Tone Method\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eBasic Principles\u003c\/p\u003e\u003cp\u003eBuilding a Row\u003c\/p\u003e\u003cp\u003eLabeling Row Forms\u003c\/p\u003e\u003cp\u003eBuilding a Twelve-Tone Matrix\u003c\/p\u003e\u003cp\u003eIdentifying Given Row Forms Without Using a Matrix\u003c\/p\u003e\u003cp\u003eAnalysis 7.1. Dallapiccola, \"Contrapunctus secundus,\" from \u003ci\u003eQuaderno musicale di Annalibera\u003c\/i\u003e (Anthology no. 18)\u003c\/p\u003e\u003cp\u003eChapter 8. Twelve-Tone Music II:\u003cb\u003e Invariance, Symmetry, and Combinatoriality\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eInvariance\u003c\/p\u003e\u003cp\u003eWebern and Row Symmetry\u003c\/p\u003e\u003cp\u003eAnalysis 8.1. Webern, Piano Variations, Op. 27, II (Anthology no. 20)\u003c\/p\u003e\u003cp\u003eHexachordal Combinatoriality\u003c\/p\u003e\u003cp\u003eAnalysis 8.2. Schoenberg,\u003ci\u003e Klavierstück\u003c\/i\u003e, Op. 33a (Anthology no. 21)\u003c\/p\u003e\u003cp\u003eChapter 9. Serialism: Developments After 1945 \u003c\/p\u003e\u003cp\u003eControl vs. Indeterminacy\u003c\/p\u003e\u003cp\u003eStravinsky and Serialism\u003c\/p\u003e\u003cp\u003eAnalysis 9.1. Stravinsky, \"Lacrimosa,\" from \u003ci\u003eRequiem Canticles\u003c\/i\u003e (Anthology no. 22)\u003c\/p\u003e\u003cp\u003eAnalysis 9.2. Boulez, \u003ci\u003eStructures Ia\u003c\/i\u003e (Anthology no. 23)\u003c\/p\u003e\u003cp\u003eMilton Babbitt’s Serial Methods\u003c\/p\u003e\u003cp\u003eChapter 10. Expanding the Limits of Musical Temporality \u003c\/p\u003e\u003cp\u003eRhythmic and Metric Irregularities in Post-Tonal Music\u003c\/p\u003e\u003cp\u003eTemporal Issues in the Music of Messiaen\u003c\/p\u003e\u003cp\u003eAnalysis 10.1. Messiaen, Introduction, from \u003ci\u003eTurangalîla Symphony\u003c\/i\u003e (Anthology, no. 24)\u003c\/p\u003e\u003cp\u003eTempo as a Structural Element in the Music of Elliott Carter\u003c\/p\u003e\u003cp\u003eAnalysis 10.2. Stockhausen, \u003ci\u003eStimmung\u003c\/i\u003e (Anthology no. 25)\u003c\/p\u003e\u003cp\u003eChapter 11. Aleatory Music: Sound Mass, Texture, and Timbre \u003c\/p\u003e\u003cp\u003eJohn Cage’s Creative Journey\u003c\/p\u003e\u003cp\u003eAnalysis 11.1. Lutosławki, \u003ci\u003eJeux vénitiens\u003c\/i\u003e, I (Anthology no. 26)\u003c\/p\u003e\u003cp\u003eAnalysis 11.2. Penderecki, \u003ci\u003eSt. Luke Passion\u003c\/i\u003e, no. 13, \"\u003ci\u003eEt Surgens Omnis Multitudo\u003c\/i\u003e\" (Anthology no. 27)\u003c\/p\u003e\u003cp\u003eAnalysis 11.3. Gubaidulina, String Quartet no. 2, Reh. 1–21 (Anthology, no. 28)\u003c\/p\u003e\u003cp\u003eChapter 12. Electronic, Computer, and Spectral Musics\u003c\/p\u003e\u003cp\u003eThe Principles of Sound Synthesis\u003c\/p\u003e\u003cp\u003eAnalysis 12.1. Stockhausen,\u003ci\u003e Telemusik, \u003c\/i\u003eSections 1–5 (Anthology no. 29)\u003c\/p\u003e\u003cp\u003eComposition with Computers\u003c\/p\u003e\u003cp\u003eAnalysis 12.2: Jonathan Harvey, \u003ci\u003eMortuos plango, vivos voco\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eAnalysis 12.3. Barry Truax, \u003ci\u003eRiverrun\u003c\/i\u003e (Anthology no. 30)\u003c\/p\u003e\u003cp\u003eSpectral Music\u003c\/p\u003e\u003cp\u003eChapter 13. Integrating the Past and Reimagining Harmony \u003c\/p\u003e\u003cp\u003eIntegrating the Past\u003c\/p\u003e\u003cp\u003eAnalysis 13.1. Berio, \u003ci\u003eSinfonia\u003c\/i\u003e, III (Anthology no. 31)\u003c\/p\u003e\u003cp\u003eAnalysis 13.2. Ligeti, \u003ci\u003eRamifications\u003c\/i\u003e, mm. 1–44 (Anthology no. 32)\u003c\/p\u003e\u003cp\u003eAnalysis 13.3. Crumb, \"Primeval Sounds,\" from\u003ci\u003e Makrokosmos\u003c\/i\u003e, vol. 1, no. 1 (Anthology no. 33)\u003c\/p\u003e\u003cp\u003eChapter 14. Simplifying Means\u003c\/p\u003e\u003cp\u003eMinimalism\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAnalysis 14.1. Reich, \u003ci\u003eViolin Phase\u003c\/i\u003e (Anthology no. 35)\u003c\/p\u003e\u003cp\u003eNonfunctional Triadic Voice Leading\u003c\/p\u003e\u003cp\u003eAnalysis 14.2. Adams, \u003ci\u003eNixon in China\u003c\/i\u003e, Act I, \"News\" Aria, mm. 374–542 (Anthology no. 36)\u003c\/p\u003e\u003cp\u003eAnalysis 14.3. Pärt, \u003ci\u003eCantus\u003c\/i\u003e (Anthology no. 37)\u003c\/p\u003e\u003cp\u003eChapter 15. Into the Twenty-First Century \u003c\/p\u003e\u003cp\u003eAnalysis 15.1. Torke, \u003ci\u003eAdjustable Wrench\u003c\/i\u003e, mm. 1–72 (Anthology no. 38)\u003c\/p\u003e\u003cp\u003eThe Return of the Motive\u003c\/p\u003e\u003cp\u003eAnalysis 15.2. Thomas, \u003ci\u003eSpring Song \u003c\/i\u003e(Anthology no. 39)\u003c\/p\u003e\u003cp\u003eAnalysis 15.3. Adès, \u003ci\u003eAsyla\u003c\/i\u003e, II (Anthology no. 40)\u003c\/p\u003e\u003cp\u003eAnalysis 15.4. Saariaho, \u003ci\u003eAriel’s Hail \u003c\/i\u003e(Anthology no. 41)\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017879486807,"sku":"9780367355357","price":87.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367355357.jpg?v=1750774971","url":"https:\/\/bookcurl.com\/products\/understanding-posttonal-music-9780367355357","provider":"Book Curl","version":"1.0","type":"link"}