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Analysis of Tonal Music: A Schenkerian Approach 4th ed. [Loose-leaf]

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(Indiana University Jacobs School of Music), (Queens College City University of New York), (Oberlin Conservatory of Music)
  • Formatas: Loose-leaf, 432 pages, aukštis x plotis x storis: 180x229x20 mm, weight: 726 g
  • Išleidimo metai: 15-Jul-2019
  • Leidėjas: OUP India
  • ISBN-10: 0190846704
  • ISBN-13: 9780190846701
Kitos knygos pagal šią temą:
  • Formatas: Loose-leaf, 432 pages, aukštis x plotis x storis: 180x229x20 mm, weight: 726 g
  • Išleidimo metai: 15-Jul-2019
  • Leidėjas: OUP India
  • ISBN-10: 0190846704
  • ISBN-13: 9780190846701
Kitos knygos pagal šią temą:
Guiding students systematically through the process of analysis, this extensively revised Student Workbook complements the fourth edition of Analysis of Tonal Music: A Schenkerian Approach. It presents works from a variety of instrumental settings, including four complete vocal works and excerpts from string quartets, symphonic movements, opera, chamber works, orchestral suites, sonatas and concertos, and solo piano works.

Two-section chapters in Part 1 provide students with more guidance than the previous edition: Preliminaries offer a review of foundational Schenkerian terms and concepts--along with short excerpts and targeted practice exercises--while slightly lengthier excerpts for Analysis include guided tips. In Part 2, Analytical Applications (chapters 7-11), the scale of the excerpts gradually increases. Chapter 7 offers small-scale Ursatz patterns (8-20 bars); chapters 8 and 9 reinforce complete one- and two-part forms; and the final two chapters conclude with the study of ternary form and sonata process.

This Student Workbook is available for separate purchase (978-0-19-0846688) or in money-saving bundles with the text. Please contact your Oxford University Press sales representative or call 800.280.0280 for details.
Preface xi
Part I Basic Principles
1(206)
Chapter 1 Introduction
3(12)
Beethoven, Piano Sonata, Op. 2, No. 1, 1
4(11)
Chapter 2 Melody And Counterpoint
15(26)
Some Characteristics of Melody
15(6)
Counterpoint
21(13)
Structural Melody
34(7)
Chapter 3 Bass Lines And Harmonic Structure
41(36)
Tonic Harmony (T Class)
42(4)
Intermediate Harmonies (Int Class)
46(7)
Dominant Harmony (D Class)
53(5)
Larger Contexts
58(9)
The Imaginary Continuo
67(3)
Chord Prolongation: Summary
70(7)
Chapter 4 Linear Techniques
77(31)
Linear Progressions
77(11)
Linear Intervallic Patterns
88(13)
The Neighbor Note
101(2)
Linear Intervallic Patterns: Summary
103(5)
Chapter 5 Tonal Structure
108(20)
Notational Symbols
108(3)
Tonal Structure and the Ursatz
111(4)
The Bass Arpeggiation (Bassbrechung)
115(1)
The Fundamental Line (Urlinie)
116(1)
Structural Levels
117(1)
The Principle of Interruption
118(4)
More on the Ursatz
122(6)
Chapter 6 Techniques Of Melodic Prolongation
128(36)
The Initial Ascent
128(2)
The Arpeggiated Ascent
130(3)
Unfolding
133(3)
Motion into an Inner Voice
136(2)
Motion from an Inner Voice
138(2)
Voice Exchange
140(3)
Shift of Register
143(14)
The Phrygian 2
157(3)
Mixture of Scale Degree 3
160(1)
Techniques in Combination
161(3)
Chapter 7 Some Basic Elaborations Of Fundamental Structures
164(43)
Mozart, Piano Sonata, K. 283, 1, bars 1-16
165(5)
Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8
170(6)
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16
176(5)
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8
181(6)
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16
187(7)
Mozart, Piano Concerto, K. 488, II, bars 1-12
194(5)
Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47
199(5)
Some Points for Review
204(3)
Part 2 Analytical Applications
207(183)
Chapter 8 One-Part Forms
211(24)
Bach, Prelude in C Major (WTC I)
211(6)
Schubert, "Wandrers Nachtlied"
217(7)
Schumann, "Lieb' Liebchen," op. 24, no. 4
224(5)
Bach, "Little" Prelude in F major, BWV 927
229(6)
Chapter 9 Binary Forms
235(32)
Handel, Suite No. 5 in D minor, hwv436, Menuetto
236(4)
Bach, "Little" Prelude in C Major, BWV 933
240(3)
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte
243(3)
Bach, Flute Sonata, BWV 1033, Minuet 1
246(4)
Haydn, Piano Sonata, Hob. XVF.43, Minuet 2
250(5)
Haydn, String Quartet, Op. 33, No. 4, Scherzo
255(3)
Brahms, Waltz in B major, Op. 39, No. 8
258(4)
Auxiliary Cadences
262(5)
Chapter 10 Ternary Forms And Rondo
267(53)
Beethoven, Bagatelle, Op. 119, No. 1
267(10)
Mendelssohn, Song Without Words, Op. 62, No. 1
277(10)
Schubert, Moment Musical, Op. 94, No. 2
287(14)
Haydn, Piano Sonata, Hob. XV1.37, III
301(8)
Brahms, Intermezzo in E Minor, Op. 119, No. 2: Some Observations on Form and Structure
309(11)
Chapter 11 Sonata Principle
320(44)
Haydn, Piano Sonata, Hob. xvl10, III
321(8)
Mozart, Symphony No. 35 ("Haffner"), K. 385, II
329(9)
Mozart, Piano Sonata, K. 457, 1
338(26)
Chapter 12 Some Common Tonal Patterns And Procedures
364(26)
Introduction
364(1)
Binary Forms
365(1)
Ternary Forms
366(5)
Sonata Principle
371(8)
Prolongational Spans
379(6)
Mixture and Large-Scale Tonal Plans
385(2)
Correspondence between Patterns and Musical Examples
387(4)
Appendix: INTRODUCTION TO GRAPHIC NOTATION 390(19)
Open Noteheads
391(1)
Slurs and Filled-In Noteheads
391(3)
Beams
394(1)
Broken Ties
394(2)
Stems with Flags
396(1)
Diagonal Lines
396(2)
Diagonal Lines and Beams
398(3)
Rhythmic Notation at Lower Levels
401(1)
Roman Numerals
401(3)
Sample Graphic Analyses for Study
404(3)
Examples from Free Composition
407(2)
Selected Bibliography 409(6)
Index of Musical Examples 415(1)
Subject Index 416