Music in Theory and Practice Volume 2This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level. |
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Página 1
Vocal music was far more common than instrumental music during the
Renaissance. Choruses came into being shortly before the beginning of the
Renaissance but did not reach full flower until well into the era. Choruses of the
time were ...
Vocal music was far more common than instrumental music during the
Renaissance. Choruses came into being shortly before the beginning of the
Renaissance but did not reach full flower until well into the era. Choruses of the
time were ...
Página 3
The Dorian, Phrygian, Lydian, and Mixolydian modes were in common use. The
Aeolian (natural minor scale) and Ionian (major scale) modes were used
occasionally. Each mode is identified by its beginning tone, called the final. Mode
Piano ...
The Dorian, Phrygian, Lydian, and Mixolydian modes were in common use. The
Aeolian (natural minor scale) and Ionian (major scale) modes were used
occasionally. Each mode is identified by its beginning tone, called the final. Mode
Piano ...
Página 5
... Consonant intervals in the sixteenth-century style & w P1 w w P8 w w P5 w w
M3 w w M6 w w m3 w w m6 w The lowest-sounding tone may not always be the
lowest voice in the score because voice crossing was quite common (Figure 1.5).
... Consonant intervals in the sixteenth-century style & w P1 w w P8 w w P5 w w
M3 w w M6 w w m3 w w m6 w The lowest-sounding tone may not always be the
lowest voice in the score because voice crossing was quite common (Figure 1.5).
Página 7
... 2–3 suspension Decorated suspensions are common. The decorations usually
consist of a portamento (discussed in the following section) or with double eighth
notes where the second eighth note is a lower neighboring tone (Figure 1.10).
... 2–3 suspension Decorated suspensions are common. The decorations usually
consist of a portamento (discussed in the following section) or with double eighth
notes where the second eighth note is a lower neighboring tone (Figure 1.10).
Página 8
Portamento The portamento is a common device of the late Renaissance that
resembles the anticipation found in later periods. The portamento figure consists
of three notes—often a dotted half note (or a half note tied to a quarter note), ...
Portamento The portamento is a common device of the late Renaissance that
resembles the anticipation found in later periods. The portamento figure consists
of three notes—often a dotted half note (or a half note tied to a quarter note), ...
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Índice
| 1 | |
Chromatic Harmony | 67 |
The Classical Period | 115 |
Extended and Chromatic Harmony | 179 |
The Nineteenth and Twentieth Centuries | 215 |
POSTLUDE | 341 |
Appendixes | 355 |
Glossary | 361 |
Credits | 367 |
Indexes | 369 |
Otras ediciones - Ver todo
Music in Theory and Practice, Volumen 2 Bruce Benward,Marilyn Saker No hay ninguna vista previa disponible - 2014 |
Music in Theory and Practive Vol II with Workbook, Volumen 2 Bruce Benward,Marilyn Saker No hay ninguna vista previa disponible - 2014 |
Music in Theory and Practice, Volumen 1 Bruce Benward,Marilyn Nadine Saker No hay ninguna vista previa disponible - 2015 |
Términos y frases comunes
7th chord added altered analysis answer appear Assignment avoid Bach bass beginning borrowed chords cadence century Change chapter Chromatic mediants circle common complete composers composition contains Countersubject create diatonic dissonant dominant doubling enharmonic Episode example exposition factors Figure four fugue function Half step harmonic illustrates intervals Invention inversion lower major material measures mediants melodic meter minor mode modulation motion Motive movement occur octave œ j œ œ œ œ œ œb œ œn œb œ œn œ parallel performance period phrase piano pitch play position Practice present progression resolution resolve rhythm root scale segment Sequence Sonata soprano sound spelling style symbols techniques theme tonal tones tonic triad twelve-tone technique types upper usually Variation voice w w w writing
Información bibliográfica
| Título | Music in Theory and Practice Volume 2 |
| Autor | Bruce Benward |
| Editor | McGraw-Hill Higher Education, 2014 |
| ISBN | 1259208591, 9781259208591 |
| N.º de páginas | 384 páginas |
| Exportar cita | BiBTeX EndNote RefMan |