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 3
... to music from approximately 1550 to 1600. The polyphony of this period is
perhaps the purest ever written because it is not influenced by the functional
harmony of later periods. Interacting melodic lines characterize the
composiImportant ...
... to music from approximately 1550 to 1600. The polyphony of this period is
perhaps the purest ever written because it is not influenced by the functional
harmony of later periods. Interacting melodic lines characterize the
composiImportant ...
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̇ 3 Portamento figure Dissonant portamento ̇ 4 PORT Portamento figure ̇ œ œ
œ œ œ œ 3 3 4 6 7 3 8 œ œ ̇ ̇ ̇ Nota Cambiata A forerunner of the eighteenth
-century changing tones, the nota cambiata is a four-note melodic figure.
̇ 3 Portamento figure Dissonant portamento ̇ 4 PORT Portamento figure ̇ œ œ
œ œ œ œ 3 3 4 6 7 3 8 œ œ ̇ ̇ ̇ Nota Cambiata A forerunner of the eighteenth
-century changing tones, the nota cambiata is a four-note melodic figure.
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Melody Rhythm and Meter The Consonant 4th The 4th is normally considered to
be a dissonance, but at cadence points a ... 4th Ó w ̇ 1 5 5 w Ó ̇ 1 ∑ w The
melodic lines in sixteenth-century choral music have the following characteristics:
1.
Melody Rhythm and Meter The Consonant 4th The 4th is normally considered to
be a dissonance, but at cadence points a ... 4th Ó w ̇ 1 5 5 w Ó ̇ 1 ∑ w The
melodic lines in sixteenth-century choral music have the following characteristics:
1.
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Figure 1.25 & & w w Plagal cadences w w Ascending P5 w w w w Ascending P5
w w w w Descending P4 Pauses often occur in individual melodic lines in
compositions of this period. These momentary breaks in rhythmic activity
sometimes ...
Figure 1.25 & & w w Plagal cadences w w Ascending P5 w w w w Ascending P5
w w w w Descending P4 Pauses often occur in individual melodic lines in
compositions of this period. These momentary breaks in rhythmic activity
sometimes ...
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̇ œ ̇ 4 3 34 œ œ w ̇# 5 3 si ̇ œ œ ̇ ̇ 7 8 7 si 6 Mode Melody Cadence 35›
mi. ... musica ficta tones & w w w w w wb( ) wn w w#( ) w Half step Half step
Accidentals Eighty-eight percent of the melodic intervals in Beatus homo are
seconds.
̇ œ ̇ 4 3 34 œ œ w ̇# 5 3 si ̇ œ œ ̇ ̇ 7 8 7 si 6 Mode Melody Cadence 35›
mi. ... musica ficta tones & w w w w w wb( ) wn w w#( ) w Half step Half step
Accidentals Eighty-eight percent of the melodic intervals in Beatus homo are
seconds.
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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