Music Catalog 2010_FINAL

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The ONLY film music history text that looks at sound and dialogue

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2009 496 pp. paper APS BUHLER 978-0-19-532779-9 $50.00

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• Over 300 illustrations

• Glossary of terms for easy reference

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Dear Professor:

We are pleased to present our catalog of educational material for higher education courses in music. Oxford University Press is dedicated to offering you texts and ancillary materials that represent the most current pedagogical trends, reflect our high scholarly standards, and speak effectively to today’s college students.

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Janet M. Beatty Executive Editor, Music [email protected] www.oup.com/us/he

Dear Professor,

We are aware that the cost of textbooks has skyrocketed over the past few years, and we’ve been listening to your concerns. As one of the top publishers in the world and a not-for-profit company, we are uniquely situated to produce high quality scholarship at the lowest pos-sible price for you and your students. In order to raise your awareness, we have included prices in this catalog, and we invite you to compare the price and quality of our textbooks with others you may be considering for your course. We know that you can’t put a price on a great education. But we can put a price on a textbook, and we’re determined to bring you the best resources at the lowest possible prices.

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Amy Krivohlavek Product Manager, Music [email protected]



Featuring These

Titles and Many

More. . .

See page 2.

See page 20.

See page 18.

See page 32.

See page 10.

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See page 30.

See page 25.

College Music Society October 22–25, 2009 Portland, Oregon

Society for Music Theory November 12–15, 2009 Montreal, Canada

American Musicological Society November 12–15, 2009 Philadelphia, Pennsylvania

Society for Ethnomusicology November 19–22, 2009 Mexico City, Mexico

Society for American Music March 17–21, 2010 Ottawa, Canada

College Music Society September 23–26, 2010 Minneapolis, Minnesota

American Musicological Society November 4–7, 2010 Indianapolis, Indiana

Look for Oxford University Press books at the following conferences:

T A B L E o f C O N T E N T S

MUSIC APPRECIATION

Introduction to American Popular Music . . . . . . . . . . . 2

Introduction to World Music . . . . . . . . . . . . . . . . . . . . . 8

Introduction to Music Appreciation . . . . . . . . . . . . . . . 10

MUSIC EDUCATION

Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Choral Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Elementary / Middle School Methods . . . . . . . . . . . . . 12

Foundations of Music Education . . . . . . . . . . . . . . . . . 13

Research Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

String Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Teaching in Higher Education . . . . . . . . . . . . . . . . . . . 16

MUSIC HISTORY

Baroque Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

History of Western Music . . . . . . . . . . . . . . . . . . . . . . 18

Film Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Research Methods / Bibliography . . . . . . . . . . . . . . . . 22

MUSIC THEORY

Counterpoint (Sixteenth Century) . . . . . . . . . . . . . . . . 23

Form and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Ear Training and Sight Singing . . . . . . . . . . . . . . . . . . 26

Schenkerian Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Graduate Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Theory for Majors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

OTHER COURSES

Class Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Career Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Psychology of Music . . . . . . . . . . . . . . . . . . . . . . . . . . 38

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Music

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The Pop, Rock, and Soul Reader Histories and Debates

Second EditionEdited by DAvID BRACKETT2008 608 pp. paper APS BRACK2 $29.95

See pp.

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Topping the Charts. . .STARR & WATERMAN’S latest release, American Popular Music, Third Edition

American Popular MusicFrom Minstrelsy to MP3Third EditionLArry STArr, University of Washington, and ChriSToPher WATerMAn, UCLA

In this thoroughly updated edition, Larry Starr and Christopher Waterman trace the development of jazz, blues, country, rock, hip-hop, and other popular styles

while highlighting the contributions of diverse groups.

Featuring thoroughly updated discussions of online distribution models, technology, and new trends in popular music and a new appendix—“Understanding Rhythm and Form”—this BeST-SeLLinG text is the most complete, authoritative, and colorful package for introducing American popular music.

In addition to providing an in-depth treatment of the music itself—including discussions of stylistic elements and analyses of musical examples—and solid coverage of attendant historical, social, and cultural circumstances, this best-selling text also offers a generous

• Two FREE in-text audio CDs

• A FREE six-month subscription to the Encyclopedia of Popular Music Online (new to the third edition) ($120 value)

• A FREE Computerized Test Bank with Instructor’s Resources on CD

• An updated Companion Website (www.oup.com/us/popmusic) containing resources for both instructors (PowerPoint lecture slides, assignments and exercises, filmographies, and review/discussion questions) and students (chapter outlines, brief biographies, flashcards, and weblinks)

The mosT compleTe, colorful, and auThoriTaTive TexT on american popular music

October 2009 560 pp. paper APS AMPOP3 978-0-19-539630-0 $79.95

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WhAT’S ThAT SoUnD? An inTroDUCTion To roCK AnD iTS hiSTory, 2eNorton

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Topping the Charts. . .STARR & WATERMAN’S latest release, American Popular Music, Third Edition

ConTenTSPreface to the Third Edition

1. Themes and Streams of American Popular MusicTheme One: listeningTheme Two: Music and IdentityTheme Three: Music and TechnologyTheme Four: The Music BusinessTheme Five: Centers and PeripheriesStreams of Tradition: The Sources of Popular MusicThe European American StreamThe African American StreamThe latin American Stream

2. “After the Ball”: Popular Music of the nineteenth and early Twentieth CenturiesThe Minstrel ShowDance Music and Brass BandsThe Birth of Tin Pan AlleyThe Ragtime Craze, 1896–1918The Rise of the Phonograph

3. “Catching as the Small-Pox”: Social Dance and Jazz, 1917–1935Technology and the Music Business“Freak Dances”: Turkey Trot and TangoJames Reese Europe and the CastlesThe Jazz CrazeJazz Becomes Popular Music: The Original Dixieland Jazz BandDance Music in the “Jazz Age”“The King of Jazz”

4. “i Got rhythm”: The Golden Age of Tin Pan Alley SongTin Pan Alley Song FormWhat Were Tin Pan Alley Songs About?What Makes a Song a “Standard”?

5. “St. Louis Blues”: race records and hillbilly MusicRace RecordsClassic BluesThe Country BluesCharley Patton and “Tom Rushen Blues” (1929)Blind lemon Jefferson: The First Country Blues StarRobert Johnson: Standing at the CrossroadEarly Country Music: Hillbilly RecordsPioneers of Country Music: The Carter Family and Jimmie RodgersPopular Music and the Great Depression

6. “in the Mood”: The Swing era, 1935–1945Swing Music and American CultureBenny Goodman: The King of SwingBig Band Blues: Basie, Ellington, and Miller Country Music in the Swing Era: Roy Acuff, Singing Cowboys, and Western Swinglatin Music in the Swing Era

7. “Choo Choo Ch’Boogie”: The Postwar era, 1946–1954Popular Music and Technology in the Postwar EraRise of the Big SingersUrban Folk Music: The WeaversThe Mambo Craze (1949–1955)Southern Music in the Postwar EraRhythm & BluesWomen in R&B: Ruth Brown and Big Mama ThorntonCountry and Western MusicHank Williams

8. “rock Around the Clock”: rock ’n’ roll, 1954–1959Cover Versions and Early Rock ’n’ RollThe Rock ’n’ Roll BusinessEarly Rock ’n’ Roll Stars on the R&B SideEarly Rock ’n’ Roll Stars on the Country SideWild, Wild Young Women: The lady VanishesSongwriters and Producers of Early Rock ‘n’ Roll

9. “Good Vibrations”: American Pop and the British invasion, 1960sThe Early 1960s: Dance Music and “Teenage Symphonies”Berry Gordy and MotownBrian Wilson and the Beach BoysThe Beatles, the British Invasion, and the American ResponseThe latin Stream in 1960s Pop

10. “Papa’s Got a Brand new Bag”: Country, Soul, Urban Folk, and the rise of rock, 1960sPatsy Cline and the Nashville SoundRay Charles and Soul MusicJames Brown and Aretha FranklinUrban Folk Music in the 1960s: Bob DylanThe Counterculture and Psychedelic RockSgt. Pepper’s Lonely Hearts Club BandSan Francisco Rock: Jefferson Airplane, Janis Joplin, and the Grateful DeadGuitar Heroes: Hendrix and Clapton

11. The 1970s: rock Music, Disco, and the Popular MainstreamCountry Music and the Pop MainstreamA 1970s Jukebox: Some Characteristic Sounds of the DecadeRock Comes of Age“Night Fever”: The Rise of Disco

12. outsiders’ Music: Progressive Country, reggae, Punk, Funk, and rap, 1970sThe Outlaws: Progressive Country Music“I Shot the Sheriff”: The Rise of Reggae The Rise of Salsa Music“Psycho Killer”: 1970s Punk and New Wave“Tear the Roof off the Sucker”: Funk Music“Rapper’s Delight”: The Origins of Hip-Hop

13. The 1980s: Digital Technology, MTV, and the Popular MainstreamDigital Technology and Popular MusicA 1980s CD ChangerA Tale of Three Albums“Baby I’m A Star”: Prince, Madonna, and the Production of Celebrity

14. “Smells Like Teen Spirit”: hip-hop, “Alternative” Music, and the entertainment BusinessHip-Hop Breaks Out (1980s–1990s)Techno: Dance Music in the Digital AgeAlternate CurrentsWomen’s Voices: Alternative Folk, Hip-Hop, and CountryGlobalization and the Rise of World Music

15. ConclusionMusic and IdentityTechnology and the Music BusinessCenters and Peripheries

Appendix: illustrations of Key Music TermsGlossary

Bibliography

Timeline

Credits

Index

CD Track List

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American Popular MusicThe Rock YearsLARRY STARR and CHRISTOPHER WATERMANAn accessible introduction to the rich historical and stylistic landscape of American rock2005 368 pp. paper APS STAROC 978-0-19-530052-9 $44.95

LiSTeninG ChArTS now include exACT TiMinGS to help students orient themselves as they use the two in-text audio CDs

BoxeD inSerTS on significant individuals, recordings, and cultural issues, with an iLLUSTrATeD TiMeLine at the back of the book

”Starr and Waterman offer the strongest historical narrative, with excellent examples, comprehensive coverage of styles, and an integrated, chronological approach.”—Mary Macklem, University of Central Florida

”This is the best textbook on the market for a general popular music course for the nonmajor. It is reliable, broad, and easy to read. . . . It is a critical study that engages important cultural issues.”—Gayle Murchison, The College of William and Mary

The latest release from Starr/Waterman has gotten RAvE reviews . . .

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Significantly expanded coverage of the LATin AMeriCAn STreAM oF inFLUenCe throughout, including the mambo craze of the 1950s, latin music in the big-band era, bossa nova, and salsa

DeTAiLeD in-TexT LiSTeninG GUiDeS explain the most important elements of recordings discussed at length in the text

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ICThe ONLY reader that brings together a wide range of readings from the 1920s to the present

The Pop, Rock, and Soul Reader Histories and DebatesSecond Edition

Edited by DAvID BR ACKETT, McGill Universit y

c o n t e n t s* = New to this editionPrefacePART 1: BEFORE 1950 * 1. Irving Berlin in Tin Pan AlleyCharles Hamm, from Irving Berlin,

Songs from the Melting Pot: The Formative Years, 1907–1914

2. Technology, the Dawn of Modern Popular Music, and the “King of Jazz”

Paul Whiteman and Mary Margaret McBride, “On Wax”

3. Big Band Swing Music: Race and Power in the Music Business

Marvin Freedman, “Black Music’s on Top; White Jazz Stagnant”

Irving Kolodin, “The Dance Band Business: A Study in Black and White”

4. Solo Pop Singers and New Forms of Fandom

Bing Crosby (as told to Pete Martin), from Call Me Lucky

* Martha Weinman Lear, “The Bobby Sox Have Wilted, but the Memory Remains Fresh”

Neil McCaffrey, “I Remember Frankee”

5. Hillbilly and Race MusicKyle Crichton, “Thar’s Gold in Them

Hillbillies” 6. Blues People and the Classic BluesLeRoi Jones, from Blues People: The

Negro Experience in White America and the Music That Developed from It

7. The Empress of the BluesNat Shapiro and Nat Hentoff, from

Hear Me Talkin’ to Ya: The Story of Jazz as Told by the Men Who Made It

8. At the Crossroads with Robert Johnson, as Told by Johnny Shines

Pete Welding, “Interview with Johnny Shines”

9. From Race Music to Rhythm and Blues: T-Bone Walker

Kevin Sheridan and Peter Sheridan, “T-Bone Walker: Father of the Blues”

10. Jumpin’ the Blues with Louis Jordan

Down Beat, “Bands Dug by the Beat: Louis Jordan”

Arnold Shaw, from Honkers and Shouters: The Golden Years of Rhythm and Blues

11. On the Bandstand with Johnny Otis and Wynonie Harris

Johnny Otis, from Upside Your Head! Rhythm and Blues on Central Avenue

Wynonie “Mr. Blues” Harris, “Women Won’t Let Me Alone”

12. The Producers Answer Back: The Emergence of the “Indie” Record Company

Bill Simon, “Indies’ Surprise Survival: Small Labels’ Ingenuity and Skill Pay Off”


13. Country Music as Folk Music, Country Music as Novelty

Billboard, “American Folk Tunes: Cowboy and Hillbilly Tunes and Tunesters”

Newsweek, “Corn of Plenty”PART 2: THE 1950s14. Country Music Approaches the

Mainstream Rufus Jarman, “Country Music Goes

to Town”15. Hank Williams on Songwriting Hank Williams (with Jimmy Rule),

from How to Write Folk and Western Music to Sell

16. Rhythm and Blues in the Early 1950s: B.B. King


17. “The House That Ruth Brown Built”

Ruth Brown (with Andrew Yule), from Miss Rhythm: The Autobiography of Ruth Brown, Rhythm and Blues Legend

18. Ray Charles, or, When Saturday Night Mixed It Up with Sunday Morning

Ray Charles and David Ritz, from Brother Ray: Ray Charles’ Own Story

19. Jerry Wexler: A Life in R&B Jerry Wexler and David Ritz, from

Rhythm and the Blues: A Life in American Music

20. The Growing Threat of Rhythm and Blues

Variety, “Top Names Now Singing the Blues as Newcomers Roll on R&B Tide”

Variety, “A Warning to the Music Business”

21. Langston Hughes Responds Langston Hughes, “Highway Robbery

Across the Color Line in Rhythm and Blues”

22. From Rhythm and Blues to Rock ’n’ Roll: The Songs of Chuck Berry

Chuck Berry, from Chuck Berry: The Autobiography

23. Little Richard: Boldly Going Where No Man Had Gone Before

Charles White, from The Life and Times of Little Richard: The Quasar of Rock

24. Elvis Presley, Sam Phillips, and Rockabilly

Elizabeth Kaye, “Sam Phillips Interview”25. Rock ’n’ Roll Meets the Popular

Press New York Times, “Rock-and-Roll

Called Communicable Disease” Time, “Yeh-Heh-Heh-Hes, Baby”New York Times, “Rock ’n’ Roll’s Pulse

Taken”Gertrude Samuels, “Why They Rock ’n’

Roll—and Should They?”

ALSO of INTEREST

How the Beatles Destroyed Rock ’n’ RollAn Alternative History of American Popular MusicELIJAH WALD2009 336 pp. cloth $24.95

• Includes eleven new selections, which offer an expansion of his-torical range, a greater emphasis on fandom, and more recognition of the role of women

• Provides suggestions for further reading and listening at the end of each chapter

• Offers a comprehensive compan-ion website (www.oup.com/us/bracket) featuring sample assign-

N E W to the SECOND EDIT IONments, reading questions, an in-troduction to the basic materials of music, teaching tips, a sample syllabus, and the suggestions for further reading and listening from the book

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26. The Chicago Defender Defends Rock ’n’ Roll

Rob Roy, “Bias Against Rock ’n’ Roll Latest Bombshell in Dixie”

27. The Music Industry Fight Against Rock ’n’ Roll: Dick Clark’s Teen-Pop Empire and the Payola Scandal

Peter Bunzel, “Music Biz Goes Round and Round: It Comes Out Clarkola”

New York Age, “Mr. Clark and Colored Payola”

PART 3: THE 1960s * 28. Brill Building and the Girl

GroupsCharlotte Greig, from Will You Still

Love Me Tomorrow? Girl Groups from the 50s On . . .

29. From Surf to SmileBrian Wilson (with Todd Gold), from

Wouldn’t It Be Nice: My Own Story30. Urban Folk Revival Gene Bluestein, “Songs of the Silent

Generation” * Time, “Folk Singing: Sibyl with

Guitar”31. Bringing It All Back Home:

Dylan at Newport Irwin Silber, “Newport Folk Festival,

1965” Paul Nelson, “Newport Folk Festival,

1965” 32. “Chaos Is a Friend of Mine” Nora Ephron and Susan Edmiston,

“Bob Dylan Interview” 33. From R&B to Soul James Baldwin, from The Fire Next

TimeJerry Wexler and David Ritz, from

Rhythm and the Blues: A Life in American Music

34. No Town Like Motown Berry Gordy, from To Be Loved: The

Music, the Magic, the Memories of Motown

35. The Godfather of Soul and the Beginnings of Funk

James Brown (with Bruce Tucker), from The Godfather of Soul

36. “The Blues Changes from Day to Day”

Jim Delehant, “Otis Redding Interview” 37. Aretha Franklin Earns Respect * Phyl Garland, “Aretha Franklin—

Sister Soul: Eclipsed Singer Gains New Heights”

38. The Beatles, the “British Invasion,” and Cultural Respectability

William Mann, “What Songs the Beatles Sang . . .”

Theodore Strongin, “Musciologically . . .”* 39. A Hard Day’s Night and

Beatlemania Barbara Ehrenreich, Elizabeth Hess,

and Gloria Jacobs, “Beatlemania: Girls Just Want to Have Fun”

Andrew Sarris, “Bravo Beatles!” 40. England Swings, and the Beatles

Evolve on Revolver and Sgt. Pepper Richard Goldstein, “Pop Eye: On

‘Revolver’” Jack Kroll, “It’s Getting Better . . .” 41. The British Art School Blues Ray Coleman, “Rebels with a Beat” 42. The Stones versus the Beatles Ellen Willis, “Records: Rock, Etc.—the

Big Ones”

79. Nuthin’ but a “G” Thang Touré, “Snoop Dogg’s Gentle

Hip Hop Growl” 80. Keeping It a Little Too

RealSam Gideon Anso and Charles

Rappleye, “Rap Sheet” Selwyn Seyfu Hinds, “Party

Over” Natasha Stovall, “Town Criers” 81. Sample-Mania Neil Strauss, “Sampling Is (a)

Creative or (b) Theft?” 82. Women in Rap Christopher John Farley, “Hip-

Hop Nation” 83. The Beat Goes On Renee Graham, “Eminem’s

Old Words Aren’t Hip-Hop’s Biggest Problem”

84. From Indie to Alternative to . . . Seattle?

Dave DiMartino, “A Seattle Slew”

85. Riot Girl Bikini Kill, “riot grrrl” 86. Grunge Turns to Scrunge Eric Weisbard, “Over & Out:

Indie Rock values in the Age of Alternative Million Sellers”

87. A “Postalternative” Icon Jonathan van Meter, “The

Outer Limits” 88. “We Are the World”? George Lipsitz, “Immigration

and Assimilation: Rai, Reggae, and Bhangramuffin”

89. A Talking Head Writes David Byrne, “Crossing Music’s

Borders: I Hate World Music” 90. Genre or Gender? The

Resurgence of the Singer-Songwriter

Robert L. Doerschuk, “Tori Amos: Pain for Sale”

91. Public Policy and Pop Music History Collide

Jenny Toomey, “Empire of the Air”

92. Electronica Is in the House Simon Reynolds, “Historia

Electronica Preface” 93. R&B Divas Go Retro Ann Powers, “The New

Conscience of Pop Music” 94. Fighting the Power in a Post-

9/11 Mediascape—The Dixie Chicks

* Charles Taylor, “Chicks Against the Machine”

95. The End of History, the Mass-Marketing of Trivia, and a World of Copies Without Originals

* Jay Babcock, “The Kids Aren’t All Right . . . They’re Amazing”

* Sasha Frere-Jones, “1 + 1 + 1 = 1: The New Math of Mashups”

Selected BibliographyIndex 2008 608 pp. paper APS BRACK2 978-0-19-536593-1 $29.95

43. If You’re Goin’ to San Francisco . . .Ralph J. Gleason, “Dead Like Live

Thunder” 44. The Kozmic Blues of Janis Joplin Nat Hentoff, “We Look at Our Parents

and . . .” 45. Jimi Hendrix and the Electronic

Guitar Bob Dawbarn, “Second Dimension:

Jimi Hendrix in Action” 46. Rock Meets the Avant-Garde:

Frank Zappa Sally Kempton, “Zappa and the

Mothers: Ugly Can Be Beautiful” 47. Pop/Bubblegum/Monkees Robert Christgau, from Any Old Way

You Choose It: Rock and Other Pop Music, 1967–1973

48. The Aesthetics of Rock Paul Williams, “Get Off of My Cloud” Richard Goldstein, “Pop Eye:

Evaluating Media” 49. Festivals: The Good, the Bad, and

the Ugly J.R. Young, “Review of various Artists,

Woodstock” George Paul Csicsery, “Altamont,

California, December 6, 1969” PART 4: THE 1970s 50. Where Did the Sixties Go? Lester Bangs, “Of Pop and Pies and

Fun” 51. The Sound of Autobiography:

Singer-Songwriters, Carole King* Robert Windeler, “Carole King: ‘You

Can Get to Know Me Through My Music’”

52. Joni Mitchell Journeys Within Malka, “Joni Mitchell: Self-Portrait of

a Superstar” 53. Sly Stone: “The Myth of

Staggerlee” Greil Marcus, from Mystery Train:

Images of America in Rock ’n’ Roll Music

54. Not-so-“Little” Stevie Wonder Ben Fong-Torres, “The Formerly Little

Stevie Wonder” 55. Parliament Drops the Bomb W.A. Brower, “George Clinton:

Ultimate Liberator of Constipated Notions”

56. Heavy Metal Meets the Counterculture

John Mendelsohn, “Review of Led Zeppelin”

* Ed Kelleher, “Black Sabbath Don’t Scare Nobody”

57. Led Zeppelin Speaks! Dave Schulps, “The Crunge: Jimmy

Page Gives a History Lesson” 58. “I Have No Message

Whatsoever” Cameron Crowe, “David Bowie

Interview” 59. Rock Me Amadeus Domenic Milano, “Keith Emerson” Tim Morse, from Yesstories: Yes in Their

Own Words60. Jazz Fusion Miles Davis (with Quincy Troupe),

from Miles: The Autobiography61. Get On Up Disco Andrew Kopkind, “The Dialectic of

Disco: Gay Music Goes Straight”

62. Punk: The Sound of Criticism? James Wolcott, “A Conservative

Impulse in the New Rock Underground”

63. Punk Crosses the Atlantic Caroline Coon, “Rebels Against the

System” 64. Punk to New Wave Stephen Holden, “The B-52s’ American

Graffiti” 65. UK New Wave Allan Jones, “The Elvis (Costello, That

Is) Interview” PART 5: THE 1980s66. A “Second British Invasion,”

MTv, and Other Postmodernist Conundrums

Robert Christgau, “Rock ’n’ Roller Coaster: The Music Biz on a Joyride”

67. Thriller Begets the “King of Pop” Greg Tate, “I’m White! What’s Wrong

with Michael Jackson” 68. Madonna and the Performance

of Identity Camille Paglia, “venus of the Radio

Waves” Jane Dark, “Madonnica” 69. Bruce Springsteen: Reborn in the

USA David Marsh, “Little Egypt from

Asbury Park—and Bruce Springsteen Don’t Crawl on His Belly, Neither”

Simon Frith, “The Real Thing—Bruce Springsteen”

70. R&B in the 1980s: To Cross Over or Not to Cross Over?

Nelson George, from The Death of Rhythm and Blues

Steve Perry, “Ain’t No Mountain High Enough: The Politics of Crossover”

71. Heavy Metal Thunders On! J.D. Considine, “Purity and Power—

Total, Unswerving Devotion to Heavy Metal Form: Judas Priest and the Scorpions”

72. Metal in the Late Eighties: Glam or Thrash?

Richard Gehr, “Metallica” 73. Postpunk Goes Indie Al Flipside, “What Is This Thing Called

Hardcore?” 74. Indie Brings the Noise Kim Gordon, “Boys Are Smelly: Sonic

Youth Tour Diary, ‘87” 75. Hip Hop, Don’t Stop Robert Ford, Jr., “B-Beats Bombarding

Bronx: Mobile DJ Starts Something with Oldie R&B Disks”

Robert Ford, Jr., “Jive Talking N.Y. DJs Rapping Away in Black Discos”

Time, “Bad Rap” 76. “The Music Is a Mirror” Harry Allen, “Hip Hop Madness: From

Def Jams to Cold Lampin’, Rap Is Our Music”

Carol Cooper, “Girls Ain’t Nothin’ but Trouble”

77. Where Rap and Heavy Metal Converge

Jon Pareles, “There’s a New Sound in Pop Music: Bigotry”

PART 6: THE 1990s AND BEYOND78. Hip-Hop into the 1990s:

Gangstas, Fly Girls, and the Big Bling-Bling

J.D. Considine, “Fear of a Rap Planet”

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AN INNOvATIvE SERIES FEATURING ENGAGING INTRODUCTIONS TO WORLD MUSIC THAT FOCUS

ON HOW PEOPLE MAKE MUSIC MEANINGFUL AND USEFUL IN THEIR LIvES

Music in Mainland Southeast AsiaGAvIN DOUGLAS, The Universit y of North Carolina at GreensboroPlacing the music of this region with-in a social, cultural, and historical context, Music in Mainland South-east Asia is the first brief, stand-alone volume to profile the under-represented musical traditions of Burma, Cambodia, Thailand, and vietnam. It also contains the first introduction to Burmese music ever presented in a music textbook. Gavin Douglas frames this survey within three key themes: music and diver-sity, music and political turmoil, and music and globalization. He also uniquely focuses on the people who practice these musical traditions—rather than the locales from which the traditions originate—also fol-lowing the individuals out of their native lands and into diasporic com-munities throughout the world.November 2009 144 pp. paper APS DOUSEA 978-0-19-536782-9 $24.95

Native American Music in Eastern North AmericaBEvER LEY DIAMOND, Memorial Universit y of NewfoundlandOne of the first books to explore the contemporary musical landscape of indigenous North Americans in both the north and east 2007 208 pp. paper APS DIANAT 978-0-19-530104-5 $24.95

Music in the Hispanic CaribbeanROBIN MOOR E, Universit y of Texas at AustinThe first brief, stand-alone vol-ume to explore the music of Cuba, Puerto Rico, and the Dominican Republic, Music in the Hispanic Caribbean provides a vibrant intro-duction to diverse musical styles in-cluding salsa, merengue, reggaeton, plena, Latin jazz, and the bolero. Robin Moore examines how the cultural legacy of the slave trade, the creolization of Caribbean musical styles, and diaspora, migration, and movement have impacted Hispanic Caribbean music.November 2009 256 pp. paper APS MOMHC1 978-0-19-537505-3 $24.95

Music in the AndesTHOMAS TURINO, Universit y of Il l inois at Urbana-ChampaignA comprehensive overview of the uniquely rich and diverse musical cross-roads of southern Peru and Bolivia2007 176 pp. paper APS TURINO 978-0-19-530674-3 $24.95

Music in ChinaFR EDERICK LAU, Universit y of Hawaii at ManoaA balanced look at traditional and mod-ern genres of Chinese music, including those performed among local and re-gional folk musicians, in academia, in the media, and on concert stages2007 208 pp. paper APS LAUCHI 978-0-19-530124-3 $24.95

Music in Central JavaBENJAMIN BRINNER, Universit y of California , BerkeleyA vivid introduction that demonstrates how three themes—flexibility, appro-priateness, and interconnectedness—characterize Java’s musical practices and traditions2006 192 pp. paper APS BRIJAv 978-0-19-514737-7 $24.95

Music in BrazilJOHN P. MURPHY, Universit y of North TexasA thorough overview of Brazilian mu-sic, covering such diverse styles as sam-ba, bossa nova, Tropicália, and regional traditional and popular music2005 192 pp. paper APS MURBRA 978-0-19-514645-5 $24.95

Mariachi Music in AmericaDANIEL SHEEHYA unique introduction that offers firsthand perspectives on the stylistic cornerstones and aesthetic standards of American mariachi music2005 128 pp. paper APS SHEEHY 978-0-19-514146-7 $24.95

Music in JapanBONNIE C. WADE, Universit y of California , BerkeleyA comprehensive look at the music of Japan—a nation in which traditional, Western, and popular music thrive side by side2004 208 pp. paper APS WADJAP 978-0-19-514488-8 $24.95

THE GLOBAL MUSIC SERIES

visit www.oup.com/us/globalmusic for more information, including instructional materials to accompany each study.

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AN INNOvATIvE SERIES FEATURING ENGAGING INTRODUCTIONS TO WORLD MUSIC THAT FOCUS

ON HOW PEOPLE MAKE MUSIC MEANINGFUL AND USEFUL IN THEIR LIvES

Music in BaliLISA GOLD, San Francisco Conservatory of MusicAn engaging overview of the Balinese ensemble tradition that links Bali’s rich past to its current role in modern society2004 208 pp. paper APS GOLBAL 978-0-19-514149-8 $24.95

Music in AmericaADELAIDA R EYES, New Jersey City Universit yA thorough examination that focuses on the ways in which identity, diversity, and unity impact American music2004 144 pp. paper APS REYES 978-0-19-514667-7 $24.95

Music in IrelandDOROTHEA E. HAST, Eastern Connecticut State Universit y, and STANLEY SCOTT, Southern Connecticut State Universit y and Wesleyan Universit yA compelling introduction to tradi-tional Irish music and dance that also acts as a springboard for the discussion of cultural and historical issues2003 176 pp. paper APS HAST 978-0-19-514555-7 $24.95

Music in East AfricaGR EGORY BAR Z, Vanderbilt Universit yAn entertaining look at the music of East Africa that provides descriptions of performances along with case studies showing how Eastern Africans create, dance to, and interact with traditional musical forms2003 160 pp. paper APS BARZ 978-0-19-514152-8 $24.95

Carnival Music in TrinidadSHANON DUDLEY, Universit y of WashingtonAn examination of the history and aes-thetics of calypso, steelband, soca, and other genres2003 128 pp. paper APS DUDLEY 978-0-19-513833-7 $24.95

Music in BulgariaTIMOTHY RICE, UCLAAn exploration of Bulgaria’s rural tra-ditions and the ways in which these practices have affected the expression and interpretation of regional music2003 144 pp. paper APS RICEMU 978-0-19-514148-1 $24.95

Music in North IndiaGEORGE E. RUCKERT, Massachuset ts Institute of Technolog yAn overview of North India’s numer-ous traditions that describes such di-verse musical styles as the chants of the ancient vedas and modern devotional singing2003 112 pp. paper APS RUCKERT 978-0-19-513993-8 $24.95

Music in West AfricaRUTH M. STONE, Indiana Universit yAn introduction to the fundamental style concepts of West African mu-sic that uses a focused case study—a performance in Liberia, West Africa, among the Kpelle people2004 128 pp. paper APS STONEM 978-0-19-514500-7 $24.95

Music in South IndiaThe K ar .nā .tak Concert Tr adition and Beyondthe late T. vISWANATHAN, Wesleyan Universit y, and MATTHEW HARP ALLEN, Wheaton CollegeA vivid and focused introduction cen-tering on Kar .nā.tak concert music, a unique performance practice of South India2003 176 pp. paper APS vISWAN 978-0-19-514591-5 $24.95

THE GLOBAL MUSIC SERIES

Shadows in the FieldNew Perspectives for Fieldwork in Ethnomusicology

Second EditionGREGORY F. BARZ, University of California, Santa Barbara, and TIMOTHY J. COOLEY, Vanderbilt University2008 352 pp. paper APS BARCO2 978-0-19-532496-9 $29.95

ALSO of INTEREST

PACKAGE two or more books in the Global Music Series and

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Turn the page for Wade’s Thinking Musically, Second Edition—

the core volume of the Global Music Series.

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Designed for undergraduates and general readers with little or no

background in music, Thinking Musi-cally, Second Edition, incorporates music from many diverse cultures and establishes the framework for explor-ing the practice of music around the world. The text examines musical instruments and the fundamental elements of music, also considering the impact of cultural factors such as gender and ethnicity.

2008 256 pp. paper APS WADMU2 978-0-19-534191-1 $29.95

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Thinking MusicallyExperiencing Music, Expressing CultureSecond Edition

BONNIE C. WADE, Universit y of California , Berkeley

Teaching Music GloballyExperiencing Music, Expressing CulturePATRICIA SHEHAN CAMPBELL, University of Washington, and BONNIE C. WADE, University of California, Berkeley

Developed in conjunction with Thinking Musically (above) and the Global Music Series (pp. 8–9), Teaching Music Globally provides teachers and students of music education with ideas and techniques for engaging their students in

the study of the world’s musical cultures.2004 258 pp. paper APS CAMPPK 978-0-19-517143-3 $45.95

F E A T U R E S o f t h e S E C O N D E D I T I O N

Two in-text CDs•

• Extended coverage of the influ-ence and pressures of gender and mass media on the form, content, and performance of music

Up-to-date material• on current trends influencing music (e.g., YouTube, MySpace, and digital downloading)

• Expanded discussion of field-work (Chapter 7)

Additional and improved ped-• agogical and supplemental materials, including additional photographs, new activities, and more references to volumes of the Global Music Series (pp. 8–9)

COMPARE. . . and SAVE!We invite you to compare the price* and quality of Thinking Musically, Second Edition—a succinct, affordable in-troduction to musical diversity (which includes two FREE audio CDs)—to other books published for your course:

Author Title Publisher Pages Price*

Wade Thinking Musically, 2E OUP 256 pp. $29.95 (text + 2 FREE in-text CDs)

Titon Worlds of Music—Brief, 3E Cengage 464 pp. $102.33 (text only)

Bakan World Music: Traditions and Transfor-mations

McGraw-Hill 416 pp. $82.67 (text only)$117.67 (text + 3 CDs)

Shelemay Soundscapes, 2E Norton 471 pp. $76.00 (text only) $112.00 (text + 3 CDs)

Alves Music of Peoples of the World, 2E Cengage 400 pp. $102.33 (text only) $147.00 (text + 3 CDs)

Nettl Excursions in World Music, 5E Pearson 496 pp. $94.80 (text only) $128.20 (text + 3 CDs)

Titon Worlds of Music, 5E Cengage 560 pp. $97.67 (text only) $178.67 (text + 4 CDs)

Miller World Music: A Global Journey, 2E Routledge 558 pp. $68.95 (text + 2 CDs)

* List (retail) prices as advertised or calculated from wholesale prices provided by publishers as of September 2009. Prices subject to change.

Framing volume in the Global Music Series

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ConductingThe Art of CommunicationWAY NE BAILEY, Arizona State Universit y

Basic Techniques of ConductingKENNETH H. PHILLIPS, Gordon College and The University of Iowa1997 256 pp. spiral-bound paper APS BASCON 978-0-19-509937-9 $65.95

Preface

UNIT I. INTRODUCTION TO THE ART OF CONDUCTING

Chapter 1

Purpose and Training of Conductors

Development of Conducting

Chapter 2

Language of Conducting

Chapter 3

Podium PostureStancePosition of Arms and

HandsConducting PositionParts of the BatonBaton GripReady Position

Gesture BoxChapter 4

Preparatory GesturesThree PatternTwo PatternFour PatternFive and Seven

PatternsSix PatternPick-Up BeatsBasic ReleasesUse of the Left HandSubdivision of BeatsUNIT II. ADvANCED

TECHNIQUES

Chapter 5

Articulation and StyleDynamicsAccented Pitches

CuesFermataTenutoTempo FluctuationsSyncopated EntrancesMixed PatternsUnmetered and

Timed PassagesUse of the Left HandChapter 6

Facial ExpressionsPosture and Body

LanguageHingesCombining the

ElementsPhrasal ConductingUNIT III. SCORE STUDY

Chapter 7

Types of Scores

Clefs and Transpositions

Score StudyRehearsal PlanningMarking the ScoreChapter 8

Sample Score Analyses, Mozart Symphony No. 35

First Suite in E-Flat, Gustav Holst

UNIT Iv. ERROR DETECTION AND CORRECTION

Chapter 9

Rhythmic and Tempo Errors

Pitch ErrorsIntonation ErrorsDynamic ErrorsArticulation Errors

Chapter 10

Exercises, Rhythmic Errors, and Errors of Pulse

Exercises, Note ErrorsExercises, Intonation

ErrorsExercises, Dynamic

and Articulation Errors

Exercises, Errors of All Types

Bibliography

Index

2008 192 pp. spiral-bound paper APS BAICON 978-0-19-536651-8 $49.95

“Finally we have a conducting text available that is comprehen-sive, understandable, and com-pletely practical for undergradu-ate conducting classes!”—Tom O’Neal, University of Missouri, Columbia

• Offers innovative exercises that combine standard literature with exercises written by the author

Features unique • aural skills and error detection exercises that help develop the conductor’s ear

• Includes a glossary of conduct-ing terms and transposition and clef charts

• Includes instruction in and examples of score study for rehearsal and performance purposes

Presents • exercises on a CD—in the music notation program Finale—so that instructors can manipulate and print the exer-cises to make custom orches-trations

c o n t e n t s

COMPARE. . . and SAVE!We invite you to compare the price* and quality of Conducting: The Art of Communication—which provides a unique Instructor’s CD—to other books published for your course:


Bailey Conducting: The Art of Communication OUP 192 pp. $49.95

Hunsberger The Art of Conducting, 2E McGraw-Hill 385 pp. $79.00

Labuta Basic Conducting Techniques, 5E Pearson 400 pp. $114.20

Green The Modern Conductor, 7E Pearson 252 pp. $89.80

Maiello Conducting: A Hands-On Approach Alfred Music Publishing

236 pp. $51.95


C onducting: The Art of Communication provides the most comprehensive treatment available on all aspects of instrumental conducting: technical, analytical, and expressive. Designed to be used in both beginning and

advanced conducting courses, this comprehensive text contains numerous error detection and score study exercises—and a unique CD for instructors.

F E A T U R E S

ALSO of INTEREST

12

Teaching General Music in Grades 4–8 A Musicianship ApproachTHOMAS A. R EGELSKI, State Universit y of New York, Fredonia

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Directing the Choral Music ProgramKENNETH H. PHILLIPS, Gordon College and The Universit y of Iowa

Each section concludes with Optional Projects. Each chapter includes Study and Discussion Questions and References.

Preface

I. CHORAL ADMINISTRATION

1. Becoming a Choral Music Director

2. Developing a Philosophy for the Music Program

3. Promoting and Recruiting for Choral Success

4. Planning and Building the Choral Program

5. Processing the Flow of Information

6. Managing the Choral Program

II. REHEARSAL AND PERFORMANCE PLANNING

7. Working with Adolescent Singers

8. Planning for Discipline and Choir Conduct

9. Choosing the Music

10. Preparing the Choral Rehearsal and Music

11. Organizing Performances 12. Popular Music Presentations

III. CHORAL TECHNIQUES

13. vocal Development, Part 1

14. vocal Development, Part 2

15. Energizing the Choral Warm-Up

16. Teaching Sight-Singing Skills

17. Rehearsing the Choir

18. Understanding Styles and Performance Practices

19. Presenting the Performance

20. Directing Other Choral Organizations

Epilogue: Moving into the Workplace

21. Planning for Success, Eugene F. Bechen

Appendixes

Index

* For a complete Table of Contents, please visit www.oup.com/us/he.

2003 432 pp. cloth APS PHIDIR 978-0-19-513282-3 $65.95

Broad in scope and practical in orientation, Directing the Choral Music Program is a comprehensive introduction to developing and managing choral music programs from elementary through high-school and adult levels.

F E A T U R E S Offers “protocols” that allow instructors to design • their own lessons and tailor them to suit numerous conditions

Concludes each chapter with a down-to-earth “Nuts • ‘n’ Bolts” section containing advice and recommen-dations

Includes a glossary of key terms and ideas in music • education

Provides appendices containing a model curriculum, • resources, and tips for using MIDI-based instruction and software

An ideal core text for both elementary and middle school general music methods courses, Teaching

General Music in Grades 4–8 discusses the important physical, psychological, cognitive, and social developmen-tal changes that students ages 9–14 undergo—and the implications of these changes for instruction in a variety of school organizational formats. Offering music educa-tors both broad and detailed guidelines to fit the needs of this challenging age group, Thomas A. Regelski takes a “musicianship approach” that regards general musical classes for these grades as an apprenticeship for lifelong musical involvement.

2004 320 pp. cloth APS REGELS 978-0-19-513778-1 $69.95

c o n t e n t s *

“The authors challenge us (students and faculty) to think anew about issues that we may have con-sidered settled.”—Birch Browning, Cleveland State University

For the fastest way to request an examination copy, visit www.oup.com/us/he. Please mention Promotion Code HEMU10 in your request.

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An expert examination of critical issues that links contemporary theory with practice

Critical Issues in Music EducationContempor ary Theory and Pr acticeEdited by HAROLD F. ABELES and LORI A. CUSTODERO, both at Teachers College, Columbia Universit y

PrefaceContributors1. Historical Contexts of

Music Education, Harold F. Abeles

IntroductionMusic Education in the First

Half of the 20th CenturyFederal Education Policy

and Music Education: 1950–Present

Equity Issues in Music Education: 1950–Present

Summary2. Music as Socio-Cultural

Phenomenon, Roberta Lamb

Introduction: “A Framework of Explanations”

Sociology in Education, Music, and Music Education

Formalism: Functionalist (Durkheim) and Rationalized (Weber)

Critical Theory, The Frankfurt School, and Critical Pedagogy

Interaction Theories in Education and Music

Social Justice: Interactions with Webs of Difference

Web of Postmodernism in Education

Technology Transforming Music Education

Summary3. Philosophical Perspectives

of Music Education, Randall Allsup

IntroductionPhilosophy and Education

Aesthetic PhilosophyPhilosophical Rationales for

Music in the SchoolsConclusion4. Meaning and Experience:

The Music Learner, Lori Custodero

IntroductionMusical Meaning and

EmbodimentProcessing Experience:

Cognitive Structures and Connections

The “Creating” Mind: Meanings through Constructing and Interpreting Music

Key Issues in Music LearningMeaningful Engagement in

Music Teaching and Learning5. The Learner in Community,

Patricia St. John

The Community of LearnersLearning Strategies in

CommunityCommunities of Musical

LearningSummary6. Music Learning and

Musical Development, Lori Custodero

IntroductionKey Issues in Musical

DevelopmentalGeneral Theories of

Development and Musical Applications

Pathways and Patterns of Musical Development

Developmental Characteristics of Music Learners

Summary: On Being and Becoming Musical

7. Curriculum, Cathy Benedict

IntroductionScientific and Technical

RationalityCurriculum Reconceptualized“Multicultural” CurriculumSome Concluding Remarks8. Assessing Music Learning,

Harold Abeles

IntroductionConsiderations of AssessmentAssessing the Outcomes of

Music InstructionAlternative Approaches to

Assessing the Outcomes of Music Instruction

Standardized Testing in MusicState and National Assessments

of the Outcomes of Music Instruction

Evaluating School Music Programs

Conclusion9. Methods and Approaches,

Cathy Benedict

IntroductionEmile Jacques-DalcrozeKodalyCarl OrffShinichi SuzukiEdwin GordonGeneral Issues and Lingering

Thoughts

10. Choosing Music Literature, Randall Allsup

IntroductionThe Problems of TraditionThe Problems of ChangeTeacher JudgmentSummary11. Music Education

Technology, James Frankel

Technology in the Music Classroom

Classroom EnvironmentsComputer-Aided InstructionMusic Production SoftwareNew InstrumentsNew Media—New Directions Conclusions12. Music Teacher Education

in the 21st Century: Developing Leaders in the Field, Colleen Conway

IntroductionMusic Teacher Education

Research ContextMusic Teacher Education Policy

ContextRecruitment of Music

Education Majors into the Preservice Program

General Issues in Music Teacher Education Curriculum

Supporting Beginning Music Teachers

Challenges of the First YearsConclusion

13. The Inquiring Music Teacher, Harold Abeles and Colleen Conway

IntroductionSources of Research in Music

EducationApproaches to ResearchQuantitative Approaches to

ResearchHistorical ResearchQualitative ResearchAction Research and Teachers

as ResearchersSummary14. Framing a Professional

Life: Collaboration and Leadership, Harold Abeles, Colleen Conway, and Lori Custodero

IntroductionCollaborations Involvement in Local, State,

Regional, and National Professional Music

International Opportunities for Professional Development

Envisioning a Career PathAdvocating and Initiating

Change: Providing LeadershipDeveloping as a ProfessionalConclusionReferencesIndex

October 2009 416 pp. cloth APS ACIME1 978-0-19-538815-2 $69.95

“The best of the best writers contribute to this book, which is highly worthwhile and invit-ing. It contains a wealth of ideas and experience from the most respected experts in the field of music education.”—Lynn Brinckmeyer, Texas State University-San Marcos

c o n t e n t s

C ritical Issues in Music Education: Contemporary The-ory and Practice examines the rich and challenging

complexities of music teaching and learning from a variety of perspectives. With individual expertise in fields includ-ing assessment, philosophical foundations, technology, mentoring, critical theory, and musical development, the contributing authors are graduates or faculty at the highly regarded Teachers College of Columbia University. In this text, they link current educational theory to pedagogical inquiry of current educational practice, calling for teach-ers to critically reflect on such professional activities as lesson planning, curriculum design, repertoire choice, and student evaluation.

Designed for upper-level undergraduate and introduc-tory graduate courses, Critical Issues in Music Education provides beginning music educators with comprehensive grounding in research-based practice. It also gives more experienced teachers new lenses to help them innovate, interpret, and lead in their profession.

F E A T U R E S Links theory to teaching practice through a variety • of perspectives

Traces the historical, philosophical, and social under-• pinnings of current beliefs, theories, and practices

Suggests reflective tools and professional development • strategies for music teachers

Includes discussion starters, project ideas, and sug-• gested readings at the end of each chapter

New!

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Exploring Research in Music Education and Music TherapyKENNETH H. PHILLIPS, Gordon College and The Universit y of Iowa

Each Chapter ends with Study and Discussion Questions and Suggested Activities.

Preface

PART ONE: RESEARCH BASICS

1. Research in Music Education and Music Therapy

2. The Research Study

3. Reading Research: A Commentary PART TWO: HISTORICAL AND PHILOSOPHICAL RESEARCH

4. Historical Research

5. Philosophical Research

PART THREE: QUALITATIvE RESEARCH

6. Principles of Qualitative Research

7. Critical Reading of Qualitative Research

8. Reflecting On Qualitative Research PART FOUR: QUANTITATIvE RESEARCH

9. Principles of Quantitative Research

10. Analysis of the Data

11. Quantitative Research: Descriptive

12. Quantitative Research: Experimental

13. Quantitative Research: Clinical

14. Mixed Methods Research

PART FIvE: RESEARCH AND THE CLASSROOM

15. Action Research

16. Integrating Research and Teaching

Epilogue

Glossary

References

Index


2007 384 pp. paper APS PHIRES 978-0-19-532122-7 $39.95

“I would like to say bravo for putting this text together. I think we need it in our field, and I ap-preciate the level-headed approach. Phillips does a good job of covering all the methodologies.” —Diana Hollinger, San Jose State University

“This book would fit beautifully into our gradu-ate program. Phillips has hit the nail on the head by including introductions to research types with actual examples from the literature. . . . I appreci-ate how Phillips pushes students into new areas without frightening them. I applaud the inclusion of qualitative and action research. I would adopt this text into a music education research course in a second.”—Bruce Gleason, University of St. Thomas

This practical text provides a comprehensive introduc-tion to understanding research in music education

and music therapy. Designed primarily for the introduc-tory research course taken by upper-level undergraduates and graduate students, it is also useful for all interested undergraduates in both fields. In contrast with tradi-tional “how to” textbooks, Exploring Research in Music Education and Music Therapy adopts a unique “how to read and comprehend” approach to music research. It helps students explore and understand articles in professional research journals, familiarizing them with the literature itself and with basic concepts, terms, and statistical symbols.

c o n t e n t s *


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The ONLY book that teaches strings with a unique in-text DvD!Strategies for Teaching StringsBuilding a Successful String and Orchestr a Progr amSecond Edition

DONALD L. HAMANN, Universit y of Arizona , and ROBERT GILLESPIE, The Ohio State Universit y

“This text represents the highest standard for string pedagogy writing. . . . with the DvD it is even more successful as a teaching tool. Bravo!” —Brenda Brenner, Indiana University

This is an essential guide for prospective, novice, and experienced string teachers alike. Now featur-

ing an integrated DvD, this comprehensive text covers performance objectives, strategies for teaching technical and performance skills, and solutions to common play-ing problems for elementary, middle, and high school skill levels.

Preface1. The String Instrument Family2. The School Orchestra Program3. Beginning String Class Instruction4. Intermediate String Class Instruction5. Advanced String Class Instruction6. Preparing for Your Orchestra

Rehearsal7. Conducting Your Rehearsal8. Practical Approaches to Teaching

Improvisation in the School Orchestra

9. String Student Recruitment and Retention

10. Method Music and Books for the School Orchestra

Additional ResourcesAppendix A: Correlated String Orchestra

Music and Teaching Strategies to Develop Bowing and Left-Hand Playing Skills

Appendix B: The National StandardsAppendix C: The Survey of Teaching

Effectiveness (STE)

Appendix D: Additional Pedagogical Resources

Index* For a complete Table of Contents, please

visit www.oup.com/us/he.

2008 288 pp. spiral-bound paper APS HAMAN2 978-0-19-536912-0 $54.95

2009 552 pp. paper APS ELYWIN 978-0-19-532924-7 $35.00

COMPARE. . . and SAVE!We invite you to compare the price* and quality of Strategies for Teaching Strings, Second Edition—the ONLY text that teaches strings with a unique in-text DvD—to other books published for your course:


Hamann Strategies for Teaching Strings, 2E OUP 288 pp. $54.95 (includes a FREE in-text DvD)

Lamb Guide to Teaching Strings, 7E McGraw-Hill 240 pp. $76.37

Klotman Teaching Strings, 2E Cengage 272 pp. $97.67


ALSO of INTEREST

Geared for the general in-strumental music educator, these texts provide handy, easy-to-use pedagogical

resources for school instru-mental programs.

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NEW to the SECOND EDITION

In-text DvD• demonstrating playing techniques, fingering positions, and teaching strategies in ac-tion; these are keyed to the text by clip numbers and marginal icons

• New and updated lists of resources at chapter ends, including new resources for jazz improvisa-tion in Chapter 8

Expanded appendices•

A • more extensive history of string instruments in Chapter 1

Thorough updating of Chapter 10• to include the most recent literature on method books and music for the school orchestra program

2009 752 pp. paper APS ELYWIW 978-0-19-532925-4 $45.00

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Teaching Music in Higher EducationCOLLEEN CONWAY, Universit y of Michigan , and THOMAS HODGMAN, Adrian College

Graduate students already know what to teach when they begin teaching undergraduates, but often find

they lack the knowledge of how to teach it. Teaching Music in Higher Education is the only book designed specifically to help graduate students in music teach undergraduates (both music- and non-music majors).

Covering all aspects of the process—from the first class taught through obtaining tenure and promotion—this book effectively answers a host of questions that begin-ning instructors are likely to have. The authors emphasize innovation and learner-centered pedagogy, stressing a teaching style tailored to meet individual student needs. Beginning music instructors learn how to organize and explain materials in ways appropriate to students’ abilities; create an environment for learning; help students become autonomous self-regulated learners; and reflect upon and evaluate their own teaching. This book shows graduate students how to accomplish all of these goals and more.

PrefacePART I. COURSE PLANNING AND PREPARATION

1. Designing an Undergraduate Music Course

2. Assessment and Grading in Music Courses

3. Understanding the Learners4. Sample Syllabi for Music CoursesPART II. TEACHING AND LEARNING

5. Creating a Culture for Learning

6. Instructional Strategies for Academic Courses

7. Strategies for Active Learning in Music Classrooms

8. Teaching Applied Music9. Toys or Tools? Instructional

TechnologyPART III. GROWTH IN TEACHING PRACTICE AND A FUTURE IN HIGHER EDUCATION

10. The Job Search in Higher Education

11. Feedback from Students and Reflection on Teaching

12. Navigating a Career in Higher Education

13. Professional Development & Improvement of Teaching

References Index* For a complete Table of Contents, please


2008 256 pp. paper APS CONTEA 978-0-19-536935-9 $29.95

The ONLY book designed to help graduate students teach undergraduates

“The material definitely reflects contemporary ideas in the field. The focus on learner-centered instruction, while not new to education in general, is very new to music instruction in higher educa-tion and needed. The text is well documented with current resources.”—Harold Abeles, Columbia University

“The writing style is quite accessible and appropri-ate for my students. It is written in a personal and conversational manner that will be more motiva-tional to read. . . . [I would cite] the breadth of important topics covered for the novice collegiate instructor, from the job hunt, through issues of teaching and learning, to matters of promotion and tenure, [and] the excellent practical examples and student vignettes.”—Don Ester, Ball State University

c o n t e n t s *

“I think you have a winner in this text. . . . I would stress the thorough cover-age of a number of im-portant topics that young professors face in their journey from their gradu-ate student years to first position as a lecturer/in-structor/assistant professor to achieving a promotion as tenured associate profes-sor. . . . Graduate students would value and evaluate this text positively.”

—Bernard Dobroski, Northwestern University

F E A T U R E S

Materials for organizing a course, including a course preparation guide with sample syllabi, an outline of a • typical course sequence for a music major, sample performance assessment tools, and sample forms for student midterms and final evaluations

Vignettes written by undergraduate music majors and reflections from successful music faculty•

Advice for the job search and professional development•

A sample Faculty Activities Report for music professors and a sample tenure and promotion materials • packet

National Association of School of Music (NASM) requirements and teacher education requirements for music • education majors

Suggestions for further reading at the end of each topic•

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Music of the BaroqueSecond Edition

DAvID SCHULENBERG, Wagner College

Preface1. Introduction 2. A Sixteenth-Century

Prologue: Motet and Madrigal

3. Transitions around 1600

4. Monteverdi and Early Baroque Musical Drama

5. Secular vocal Music of the Later Seventeenth Century

6. Lully and French Musical Drama

7. Seventeenth-Century Sacred Music

8. Late Baroque Opera 9. Late Baroque Sacred

Music

10. Music for Solo Instruments I: Toccata and Suite

11. Music for Solo Instruments II: Fugues and Pièces

12. Music for Instrumental Ensemble I: The Sonata

13. Music for Instrumental Ensemble II: Sinfonia and Concerto

14. A Mid-Eighteenth-Century Epilogue: The Galant Style

BibliographyIndex


2007 416 pp. cloth APS BARTX2 978-0-19-533106-6 $64.95

Music of the BaroqueAn Anthology of ScoresSecond Edition

DAvID SCHULENBERG, Wagner College

Preface

1. Giovanni Pierluigi da Palestrina: Dum complerentur (motet)

2. Orlande de Lassus: Timor et tremor (motet)

3. Don Carlo Gesualdo, Prince of venosa: Beltà, poi che t’assenti (madrigal)

4. Claudio Monteverdi: Luci serene (madrigal)

5. Giulio Caccini: Sfogava con le stele (continuo madrigal)

6. Claudio Monteverdi: Orfeo, Act 2 (opera: selections)

7. Claudio Monteverdi: Il combattimento di Tancredi e Clorinda (balletto or dramatic madrigal)

8. Pier Francesco Cavalli: Giasone (opera: selections)

9. Barbara Strozzi: Ardo in tacito foco (cantata or strophic aria)

10. Alessandro Scarlatti: Correa nel seno amato (cantata: selections)

11. Henry Purcell: From Rosy Bowers (catata)

12. Jean-Baptiste Lully: Armide (opera: selections)

13. Giovanni Gabrieli: In ecclesiis (concertato motet)

14. Heinrich Schütz: Herr, neige deine Himmel, SWv 361 (concertato motet)

15. Heinrich Schütz: Saul, Saul, was verfolgst du mich?, SWv 415 (concertato motet)

16. Giacomo Carissimi: Jepthe (oratorio: selections)

17. Michel-Richard de Lalande: De profundis (grand motet, selections)

18. George Frideric Handel: Orlando (opera: selections)

19. Jean-Phillipe Rameau: Les indes galantes (opéra-ballet: selections)

20. Johann Sebastian Bach: Herr Jesu Christ, wahr’r Mensch und Gott, BWv 127 (sacred cantata)

21. George Frederic Handel: Jephtha (English oratorio: selections)

22. Ennemond Gaultier, Pieces for Lute

23. Girolamo Frescobaldi: Toccata 7 (from Libro II)

24. Johann Jacob Froberger: Suite 20 in D

25. Elizabeth-Claude Jacquet de La Guerre: Prélude from Suite III in A Minor

26. Dietrich Buxtehude: Nun bitten wir den heiligen Geist, BuxWv 208 (chorale prelude)

27. Dietrich Buxtehude: Praeludium in A Minor, BuxWv 153

28. Johann Sebastian Bach: Prelude and Fugue in G, BWv 860, from The Well-Tempered Clavier, Part 1

29. Jean-Henri d’Anglebert, François Couperin, and Jean-Phillipe Rameau: Extracts from ornament tables

30. François Couperin: Vingt-unième ordre (keyboard suite: selections)

31. Salamone Rossi: Sonata sopra La Bergamusca

32. Dario Castello: Sonata 12 from Libro I

33. Biagio Marini: Sonata variata for violin and Continuo

34. Hans Ignaz Franz Biber: Sonata 5 in E Minor for violin and Continuo

35. Giovanni Legrenzi: Sonata La Strasolda for Two violins and Continuo

36. Arcangelo Correlli: Sonata in C for violin and Continuo, op. 5, no. 3

37. Torelli: Sinfonia in D for Trumpet, Strings, and Continuo, G. 8

38. Arcangelo Corelli: Concerto Grosso in G Minor, op. 6, no. 8, “Christmas”

39. Antonio vivaldi: Concerto in E for violin, Strings, and Continuo, op. 3, no. 12 (R. 265)

40. Johann Sebastian Bach: Brandenburg Concerto no. 2 in F, BWv 1047

41. Georg Philipp Telemann: Nouveau quatour no. 6 in E Minor for Flute, violin, viola da Gamba (or Cello), and Continuo, TWv 43: e4

42. Carl Philipp Emanuel Bach: “Württemberg” Sonata” no. 1 in A Minor for Keyboard, W. 49/1

2007 400 pp. paper APS BARAN2 978-0-19-533116-5 $59.95

A vivid Introduction to European Music from 1600 through 1750

c o n t e n t s

c o n t e n t s *

Music of the Baroque, Second Edition, and its accompanying anthology of scores (below) offer a vivid introduc-tion to European music from 1600 through 1750. Integrating historical and cultural context with composer

biography, music analysis, and performance practice, the text surveys Baroque music while analyzing in depth more than forty works from the principal traditions of the period.

This anthology includes works by such celebrated Baroque composers as Bach, Handel, Lully, Monteverdi, and Schütz while also featuring compositions by lesser-known composers including Barbara Strozzi and Elizabeth-

Claude Jacquet de La Guerre. This second edition complements the textbook’s emphasis on performance practice while adding important instrumental works for lute, chamber ensemble, and trumpet with strings, as well as excerpts from a grand motet.

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Ideas and Styles in the Western Musical TraditionThird Edition

DOUGLASS SEATON, The Florida State Universit y

“Seaton’s writing style is very fine—elegant and clear —an excellent model. . . . It really is interesting to read, and it leaves a lot of room for the instructor to choose the listening selections.” —Carol Padgham Albrecht, University of Idaho

Now available from Oxford University Press . . .

1. Music in the Life and Philosophy of Ancient Greece

Greek Music TheoryMusic in Ancient Rome 2. The Early Christian

Period

The Growth of the Christian Church and Its Music

The Jewish HeritageThe Diversification of

Practice3. The Establishment of a

Catholic TraditionThe Political-Cultural

Situation at the Beginning of the Ninth Century

The Roman Liturgy Aesthetic Considerations

Regarding the ChantThe Musical Style of the

ChantThe Music Theory of the

ChantLater Developments in the

Liturgical Chant4. Medieval Secular Song

and Instrumental Music

Secular Music before the Eleventh Century

Latin Songs Epics and Minstrels Troubadours and Trouvères German Court Music Monophonic Songs in Other

Regions

Instruments The Use of Instruments 5. The Development of

Polyphony The Significance of

Polyphony Carolingian Polyphony Romanesque Developments Gothic Thinking and StyleNotre Dame Polyphony The Motet Late Thirteenth-Century

Developments Symbolic values in Medieval

Polyphony 6. Music in the Fourteenth

Century

The Increasing Secularization of Culture

Ars NovaIsorhythmThe Roman de FauvelForm in Secular Song Guillaume de MachautArs Subtilior The Italian Trecento Cadence Patterns in the

Fourteenth Century English Polyphony 7. Humanism and Music The Rise of a Humanist

World view

The Hundred Years’ War and English Music on the Continent

The New Style on the Continent

The Idea of a New Music 8. The Spread of New

Musical Ideas and Practices to 1600

The Growth of the Renaissance Musical Style in the North

The Ascendancy of the Northern Style

Music for Social Use Regional variations of the

Cosmopolitan Style in Secular Music

9. Instrumental Music in the Sixteenth Century

The Place of InstrumentsInstruments and their

Combinations Instruments and vocal

Music Instrumental Adaptations of

vocal Music and Genres Instrumental Genres 10. The Reformation and

Music

The Background of the Reformation

The Music of the Lutheran Reformation

The Calvinist Reformation

The Reformation in EnglandThe Counter-ReformationFaith, Music, and the Power

of Words11. The Close of the

Sixteenth CenturyItalian Music at the End of

the Sixteenth CenturyMannerismThe Italian Style in England France The venetian Style The Significance of Late

Humanist Styles12. Rationalism and its

Impact on Music

An Age of ReasonAesthetic ConsiderationsThe Doctrine of AffectionsThe Florentine CamerataMonody and the Basso

ContinuoConcertatoSeconda PraticaExpression of New Ideas in

New Styles13. New Genres and Styles

in the Age of RationalismThree StylesThe Creation of OperaDevelopments in Italian

Operavocal Chamber MusicSacred Music

c o n t e n t s *

A “-Free” Book of Music History: Anthology-Free, List-Free, and Clutter-Free

I deas and Styles in the Western Musical Tradition, Third Edition, explores the conceptual frameworks that have

shaped musical development from antiquity to the present. In a lively narrative that prompts readers to think both critically and creatively, Douglass Seaton uses historical documents from thinkers, artists, and musicians to add rich detail to the compelling story of Western music. This brief and accessible narrative of music history features numerous works of art, literature, and music that immerse the reader in the historical and intellectual contexts of musical styles.

In addition, the thoroughly updated and revised third edition:

Includes the most current historiography•

Clarifies the interconnections and divisions between • musical periods, moving away from “periodiza-tion” terms

Offers an updated and comprehensive timeline•

Expands the final chapter with additional recent • works and more reflection on postmodernism

Features a unique anthology-free design that al-• lows instructors the flexibility to choose their own musical examples (a correlation guide to the major score anthologies is included in the Companion Website)

S U P P O R T PAC K AG E

The third edition is also enhanced by a new Companion Website (www.oup.com/us/seaton) with study aids, chapter synopses, review and quiz materials, questions for study and reflection, lis-tening recommendations, guidance for research and writing in music history, and teaching tips. Also included are hints for pronouncing church Lat-in as well as a correlation guide to the major score anthologies.

New Edition!

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“When I was reading this text, it was as if I were reading a new novel for my own pleasure. The book is beautifully written, clear, and concise. . . . Though Seaton’s writing is as scholarly as any I’ve read, it is immediately readable, logical, and utterly enjoyable.” —virginia Boaz, East Texas Baptist University

“I enjoy the flexibility that this book allows in select-ing which pieces to use in and out of class, whether in an existing anthology, online, in a course-pack, or in the library. . . . This is an outstanding text-book, and the only one I feel comfortable asking my students to purchase. “ —Jay Grymes, Univer-sity of North Carolina-Charlotte

Seventeenth-Century Instrumental Music

14. The Late Seventeenth Century

French Opera in the Seventeenth Century

English Music in the Seventeenth Century

Italian OperaThe Cantata and Other

vocal Chamber MusicGerman Musical GenresThe Development of

Instrumental Forms and Idioms

15. The Early Eighteenth Century

The Late Rationalist PeriodOpera Seria—Handel and

OthersThe IntermezzoOpera in FranceHandel and the OratorioGermanyJohann Sebastian Bach16. New Currents in the

Early Eighteenth Century

New Directions in Thinking and Style

The Development of the Tonal System

The Idea of the GalantFrench and Italian Operatic

ComedyThe empfindsamer StilStructure in Early

Eighteenth-Century Instrumental Music

Developments in Instrumental Music

17. The Enlightenment and the Classic Style

The EnlightenmentThe Classic Outlook

Musicians in Late Eighteenth-Century Society

Contrasting Careers for Classical Musicians: Haydn and Mozart

Comic Opera in the Early Enlightenment

Opera Seria and Opera Reform

Instrumental Genres and the Sonata Plan

The Sonata Form and Its variants

Expression and Function18. The End of the

Eighteenth Century

The Position of Haydn and Mozart

Chamber MusicSymphonyConcertoMozart’s Mature OperasA New Model for ExpressionThe Enlightenment BeethovenThe American Colonies and

the Early United States19. The Rise of the

Romantic MovementPhilosophical Roots of

Romantic ThoughtRomantic ArtThe Romantic Movement

in the History of Musical Style

Beethoven from 1802Beethoven’s Last PeriodBeethoven’s Influence on

Nineteenth-Century MusicEarly Nineteenth-Century

Italian OperaOpera in FranceGerman Romantic OperaThe Social Context for

Music in the Nineteenth Century

20. Developments in Romanticism to 1850

The Context for Romanticism to the Middle of the Nineteenth Century

Romantic Lyricism in Italian Opera

French Grand OperaThe Cult of virtuositySome “Serious” PerformersLyricism and virtuosity—

ChopinSalons and Drawing RoomsInstrumental Genres in

Romantic MusicRomantic Musical StyleRecognition of the Musical

HeritageThe Midpoint of the

Nineteenth Century21. The Second Half of the

Nineteenth CenturyThe New German SchoolThe Artwork of the Future Late RomanticismInfluences of the New

German StyleRealism in Late Nineteenth-

Century OperaExoticismLate Nineteenth-Century

National StylesNationalism in Other

CountriesThe Situation at the End of

the Nineteenth Century22. The Arrival of the

Twentieth Century

A Turning Point in Artistic Ideas and Styles

Impressionism The Aesthetics of UglinessPrimitivismExpressionism

23. Modernism and the Period between the World Wars

ModernismA Period of ReadjustmentThe Twelve-Tone Method of

CompositionToward SerialismArtistic ObjectivityNeoclassicismNew Tonal TheoryThe Influence of Regional

MusicsThe Music of Socialist

Realism in the Soviet Union

The United StatesThe Avant-Garde24. In The Second Half of

the Twentieth Century

History and Contemporary Music

Composers in Late-Twentieth-Century Society

Total ControlThe Exploration of New

Timbres: Extended Techniques

Electronic MusicIndeterminacyAesthetic IssuesPostmodernismPostmodernism in MusicJazz and Popular MusicThe Situation at the Dawn of

the Twenty-First CenturyAppendix: TimelineIndex


October 2009 544 pp. cloth APS SEAIS3 978-0-19-537988-4 $59.95

COMPARE. . . and SAVE!We invite you to compare the price* and quality of this accessible and brief text to other books published for your course:


Seaton Ideas and Styles in the Western Musical Tradition, 3E OUP 554 pp. $59.95

Hanning Concise History of Western Music, 3E Norton 752 pp. $78.00

Bonds A History of Music in Western Culture, 3E Pearson 696 pp. $84.00

Burkholder A History of Western Music, 8E Norton 986 pp. $84.00

Wright Music in Western Civilization Schirmer 864 pp. $104.33* List (retail) prices as advertised or calculated from wholesale prices provided by publishers as of September 2009. Prices subject to change.

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ICThe ONLY film music history text that looks at sound and dialogue—as well as scores!

Hearing the MoviesMusic and Sound in Film HistoryJAMES BUHLER and DAvID NEUMEYER, both at Universit y of Texas at Austin , and ROB DEEMER, State Universit y of New York at Fredonia

“This text does not iso-late music as a separate component of the film experience, but instead asks students to consider music in the context of the whole soundtrack, that is, in conjunction with sound effects and dialogue. For a textbook this is a novel and wonderful approach and it constitutes what I think is the real strength of the book.”—Julie Hubbert, University of South Carolina

F E A T U R E S Brings together the broadest range of scholarship on • film music currently available

Includes copious examples from a range of easily • accessible films, as well as “Additional Films and Scenes to Study” sections with exact timings

Progressively introduces, defines, and illustrates • concepts

Draws students into the material with screen stills • and sidebars with commentary

PrefaceIntroductionPART I: THE SOUND TRACK AND FILM NARRATIvE: BASIC TERMS AND CONCEPTS

Chapter 1. The Sound Track and Narrative

Chapter 2. The Musicality of the Sound Track: Concepts and Terminology

Chapter 3. Music, Sound, and the Space of Narrative: Concepts and Terminology

Chapter 4. Music, Sound, and TimeInterlude: Writing About Film Sound:

Analysis and DescriptionPART II: MUSIC, FILM FORM, AND FILM STYLE

Chapter 5. Music in Film Form

Chapter 6. Music in Main-Title and End-Credit Sequences

Chapter 7. Music in Performance and Montage Scenes

Chapter 8. Film Style and the Sound Track

Chapter 9. Music in Character and Action Scenes

Interlude: Writing About Film Music: Interpretation

PART III: THE SOUND TRACK: A TECHNOLOGICAL HISTORY

Chapter 10. Music and Sound in the Silent Era (1895–1929)

Chapter 11. The Transition to Sound Film (1926–1932)

Chapter 12. Music and the Sound Track in the Classical Studio Era

Chapter 13. The Stereo Sound Track and the Post-Classical Era (1950–1975)

Chapter 14. The New Hollywood, Dolby Stereo, and the Emergence of Sound Design (1975–2000)

Chapter 15. Music and Film Sound Today

AfterwordGlossaryCreditsNotesIndex* For a complete Table of Contents, please


2009 496 pp. paper APS BUHLER 978-0-19-532779-9 $50.00

Tuning InAmerican Narr ative Television Music RON RODMAN, Carleton College

Drawing on music in a wide variety of television genres—from westerns to science-fiction thrillers to police dramas to sitcoms and commercials—author Ron Rod-

man develops a new theory of television music to explain how it conveys meaning to American viewing audiences.November 2009 368 pp. cloth APS RODTUN 978-0-19-534025-9 $21.95

In this text for introductory film music courses, the au-thors bring music into the context of sound, and sound

into the context of the whole film. The text’s functional approach to surveying film music teaches students critical listening skills that can be applied to sound and music in all visual media. By offering easily accessible sample analyses of sound and music in relation to the image track at the level of the scene, the text illustrates how to analyze a sound track and its music. It also provides a historical narrative of sound and music in film genres and film his-tory as well as a look at the technical side of contemporary music and sound production.

ALSO of INTEREST

c o n t e n t s *


Includes an end-of-book glossary and an Instruc-tor’s Manual on CD offering additional ex-amples with screen stills, composer biographies, quizzes, exercises, and suggestions for class dis-cussions and activities

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Keeping TimeReadings in Jazz HistoryEdited by ROBERT WALSER, UCLA

“An impressive achievement. The introductions to the excerpts alone provide a fascinating mini-history of jazz that ranges through a wider variety of topics than many full-scale histories.”—Gary Tomlinson, University of Pennsylvania

Drawing from contemporary journalism, reviews, program notes, memoirs, interviews, and other

sources, Keeping Time brings to life the controversies and critical issues that have accompanied every moment of jazz history.

OOperaA History in DocumentsPIERO WEISS, Johns Hopkins Universit y

In this text, Piero Weiss presents a wide-ranging, vivid, and care-

fully researched tour of operatic his-tory. A unique anthology of primary source material, this survey includes 115 chronologically organized selec-tions—passages from private letters,

public decrees, descriptions of first performances, portions of libretti, lit-erary criticism and satire, newspaper reviews and articles, and poetry and fiction—from opera’s late Renaissance infancy through modern times. This firsthand testimony allows students

to experience the history of opera as eyewitnesses, offering an immediacy and validity unmatched by standard histories.

2002 352 pp. paper APS WEISS 978-0-19-511638-0 $39.95

c o n t e n t s

Preface Acknowledgments First Accounts 1. Sidney Bechet’s Musical

Philosophy 2. “Whence Comes Jass?”,

Walter Kingsley3. The Location of “Jass,”

New Orleans Times-Picayune

4. A “Serious” Musician Takes Jazz Seriously, Ernest Ansermet

5. “A Negro Explains ‘Jazz’,” James Reese Europe

6. “Jazzing Away Prejudice,” Chicago Defender

7. The “Inventor of Jazz,” Jelly Roll Morton

the twenties

8. Jazzing Around the Globe, Burnet Hershey

9. “Does Jazz Put the Sin in Syncopation?”, Anne Shaw Faulkner

10. Jazz and African Music, Nicholas G.J. Ballanta-Taylor

11. The Man Who Made a Lady Out of Jazz (Paul Whiteman), Hugh C. Ernst

12. “The Jazz Problem,” The Etude

13. “The Negro Artist and the Racial Mountain,” Langston Hughes

14. A Black Journalist Criticizes Jazz, Dave Peyton

15. “The Caucasian Storms Harlem,” Rudolf Fisher

16. The Appeal of Jazz Explained, R.W.S. Mendl

the thirties 17. What Is Swing?, Louis

Armstrong 18. Looking Back at “The

Jazz Age,” Alain Locke 19. Don Redman: Portrait of

a Bandleader, Roi Ottley 20. Defining “Hot Jazz,”

Robert Goffin 21. An Experience in Jazz

History, John Hammond 22. On the Road with Count

Basie, Billie Holiday 23. Jazz at Carnegie Hall,

James Dugan and John Hammond

24. Duke Ellington Explains Swing

25. Jazz and Gender During the War Years, Down Beat

the Forties 26. “Red Music,” Josef

Skvorecky

27. “From Somewhere in France,” Charles Delauney

28. Johnny Otis Remembers Lester Young

29. “A People’s Music,” Sidney Finkelstein

30. “Bop is Nowhere,” D. Leon Wolff, Louis Armstrong

31. “The Cult of Bebop,” Dizzy Gillespie

32. “The Golden Age, Time Past,” Ralph Ellison

33. The Professional Dance Musician and His Audience, Howard S. Becker

the FiFties 34. Jazz in the Classroom,

Marshall W. Stearns 35. A Jazz “Masterpiece,”

André Hodeir 36. “Sonny Rollins and the

Challenge of Thematic Improvisation,” Gunther Schuller

37. “Beneath the Underdog,” Charles Mingus

38. Psychoanalyzing Jazz, Miles D. Miller

39. An Appeal to the vatican

40. America’s “Secret Sonic Weapon”

41. “The White Negro,” Norman Mailer

42. Louis Armstrong on Music and Politics

the sixties 43. Critical Reception of

Free Jazz 44. “Jazz and the White

Critic,” LeRoi Jones 45. A Jazz Summit Meeting,

Playboy the seventies 46. Oral Culture and

Musical Tradition, Ben Sidran

47. Jazz as a Progressive Social Force, Leonard Feather

48. Beyond Categories, Max Roach

49. The Musician’s Heroic Craft, Albert Murray

50. Creative Muisc and the AACM, Leo Smith

the eighties 51. “America’s Classical

Music,” Billy Taylor 52. “A Rare National

Treasure,” U.S. Congress 53. The Neoclassical Agenda,

Wynton Marsalis 54. Soul, Craft, and the

Cultural Hierarchy, Wynton Marsalis and Herbie Hancock

55. “‘It Jus’ Be’s Dat Way Sometime’: The Sexual Politics of Women’s Blues,” Hazel V. Carby

56. Miles Davis Speaks His Mind

57. A Music of Survival and Celebration, Christopher Small

the nineties 58. Who Listens to Jazz? 59. Free Jazz Revisited 60. Ring Shout, Signifyin(g),

and Jazz Analysis, Samuel A. Floyd, Jr.

61. Ferociously Harmonizing with Reality, Keith Jarrett

62. Constructing the Jazz Tradition, Scott DeVeaux

Editing Notes Select Bibliography Index

1998 464 pp. paper APS KEETIM 978-0-19-509173-1 $29.95

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YMusic ResearchA HandbookLAURIE SAMPSEL, Universit y of Colorado at Boulder

Chapters 1–16 end with Suggested Readings. Chapters 1–14 also include Evaluation Checklists.

PrefaceList of AbbreviationsPART ONE: RESEARCH TOOLS

Chapter 1: Guides to the Research Process and Research Tools

Chapter 2: Comprehensive Music Encyclopedias and Dictionaries

Chapter 3: Special Encyclopedias and Dictionaries

Chapter 4: Finding Music Materials in Library Catalogs

Chapter 5: Periodical Indexes for MusicChapter 6: Indexes to Music

Dissertations, Theses, Conference Papers, and Festschriften

Chapter 7: Indexes to Music in Composer’s Complete Works, Historical Sets & Musical Monuments, and Anthologies

Chapter 8: Finding and Using Thematic Catalogs

Chapter 9: Music Histories, Source Readings, and Chronologies

Chapter 10: Bibliographies of Music and Music Literature

Chapter 11: DiscographiesChapter 12: Music IconographiesChapter 13: Music DirectoriesChapter 14: Internet Resources for

MusicPART TWO: WRITING, STYLE MANUALS, AND CITATION

Chapter 15: Writing

Chapter 16: Style Manuals and Citation of Sources

Appendixes

A: Library of Congress Class MB: Searching TipsC: Twenty-Five Composers Included as

Examples in this TextD: Chicago Manual of Style at Your

FingertipsE: American Psychological Association

Style at Your FingertipsF: Modern Language Association Style

at Your FingertipsGlossaryIndex* For a complete Table of Contents, please


2008 352 pp. cloth APS SAMPSE 978-0-19-517119-8 $39.95

Music in WordsA Guide to Researching and Writing About MusicTR EvOR HERBERT, Open Universit y

A compact guide to researching and writing about music, Music in Words addresses all the issues that anyone who writes about music—from students to

professional musicians and critics—may confront when putting together anything from brief program notes to a lengthy thesis.

2009 256 pp. paper APS HERMUS 978-0-19-537373-8 $19.95

Concise and practical, Music Research introduces music stu-

dents to the major print and electron-ic research tools available to them. This unique handbook does not aim to provide an exhaustive introduc-tion to the subject; rather, it is highly selective and guides students to the most significant English-language re-search tools and resources, reference

titles in major areas, and the principal sources in French, German, Italian, and Spanish.

The text is supplemented by a com-prehensive companion website, (www.oup.com/us/musresearch), which includes supplemental links, updates to available bibliographies and readings by chapter, research tools listed by composer, and lists of

core music journals and major profes-sional music associations.

Ideal for graduate-level music bibli-ography and research courses, it can also be used in any undergraduate or graduate music course that requires students to engage in library research or to write a research paper.

ALSO of INTEREST

c o n t e n t s *

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Modal CounterpointRenaissance StyleSecond Edition

PETER SCHUBERT, McGill Universit y

An exceptional text for undergraduate and graduate music students, Modal Counterpoint uses a wide variety of carefully graded exercises to present

guidelines for writing and analyzing 16th-century music. The only species counterpoint text that draws directly on Renaissance treatises, it provides a conceptual framework to guide students through composition and analysis as it teaches them general structural principles.

Preface

Note to the Student

Note to the Instructor

Introduction: Renaissance Musical Style and Notation

1. Mode

2. Introduction to Two-Part Species Counterpoint

3. First Species

4. Second Species

5. Third Species

6. Fourth Species

7. Mixed values

8. Counterpoint with Repetition of a Motive

9. Motivic variation

10. Cadence Formulas in Two voices

11. Two Parts in Mixed values

12. The Imitative Duo

13. Invertible Counterpoint

14. Three Parts

15. Three Parts in Mixed values

16. The Three-voice Invertible Canon

17. Four-Part Writing

18. Adding Three Parts in Mixed values to a CF

19. Four Parts in Mixed values

20. Composing a Whole Piece

Appendices

1. Text Setting2. Canon Against a CF3. Solmization4. Sample Motive Placements5. The Invertible Duo

Bibliography

Index


2007 368 pp. spiral-bound paper APS DALEREN 978-0-19-533194-3 $59.95

Integrates improvisation activities and new repertoire examples into • many chapters

Revises the chapter on three-part writing (Chapter 14) so that it pays • more attention to rules and strategies

Reworks the chapters on cadences (Chapter 10) and on writing two • parts in mixed values (Chapter 11) to make them more accessible to students

Incorporates clarified instructions throughout•

Includes a summary of rules•

F E A T U R E S o f t h e S E C O N D E D I T I O N

“There is no other textbook in modal counterpoint on the market that is in the same league. . . . This certainly ranks among the best music theory textbooks of the past ten years.”—Anton vishio, New York University

“This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remark-ably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit.”—Jeff Perry, Louisiana State University

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Classical FormA Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and BeethovenWILLIAM E. CAPLIN, McGill Universit y

“This book is an important and impressive statement that no theorist or musicol-ogist can afford to ignore.” —Music Theory Spectrum

IntroductionPART I. PRELIMINARIES

1. Some Basic Formal Functions: An Overview

2. Fundamental Progressions of Harmony

PART II. TIGHT-KNIT THEMES

3. Sentence4. Period5. Hybrid Themes and Compound

Themes6. Small Ternary

7. Small BinaryPART III. LOOSER FORMAL REGIONS

8. Subordinate Theme9. Transition10. Development11. Recapitulation12. CodaPART Iv. FULL-MOvEMENT FORMS

13. Sonata Form

14. Slow-Movement Forms15. Minuet/Trio Form16. Rondo Forms17. Concerto FormGlossary of TermsNotesBibliographyIndex of Classical CompositionsGeneral Index

2000 320 pp. paper APS CAPFOR 978-0-19-514399-7 $45.00

c o n t e n t s

c o n t e n t s

Engaging MusicEssays in Music AnalysisEdited by DEBOR AH STEIN, New England Conservatory of Music

The first collection of its kind, Engaging Music includes an introduction and twenty-one selections by highly esteemed contemporary music theorists, sixteen of which were written especially for this volume.

PrefaceIntroduction to Writing Analytical

Essays, William MarvinPART I. INTRODUCTION TO ANALYTICAL TOPICS AND TECHNIQUES

Rhythm, Meter, and Phrase

1. The Phrase Rhythm of Chopin’s A-flat Mazurka, Op. 59, No. 2, Charles Burkhart

2. Hypermeter and Hypermetric Irregularity in the Songs of Josephine Lang, Harald Krebs

Pitch

3. Schenker’s Conception of Musical Structure, Allen Forte

4. “Learn to Draw Bob Hope!” Mort Drucker, Arnold Schoenberg, and Twelve-Tone Music, Andrew Mead

Form

5. Analyzing the Unity within Contrast: Chic Corea’s “Starlight,” Ramon Satyendra

6. Form in Rock Music: A Primer, John Covach

Musical Ambiguity

7. Introduction to Musical Ambiguity, Deborah Stein

8. Attacking a Brahms Puzzle, Edward T. Cone

PART II. MODEL ESSAYS: TEXT AND MUSIC

9. Figaro’s Mistakes, David B. Lewin10. Motive and Text in Four Schubert

Songs, Carl Schachter11. Isolde’s Transfiguration in Words

and Music, Patrick McCreless12. Meaning in a Popular Song:

The Representation of Masochistic Desire in Sarah McLachlan’s “Ice,” Lori Burns

13. In Search of Purcell’s Dido, Janet Schmalfeldt

PART III. MODEL ESSAYS: INSTRUMENTAL

Performance and Analysis

14. The Presto from Bach’s G Minor Sonata for violin Solo: Style, Rhythm, and Form in a Baroque Moto Perpetuo, Joel Lester

15. Dramatic Progression in Haydn, Sonata No. 46 in A-flat, Adagio, Marion A. Guck

Form

16. Formal and Expressive Intensification in Shostakovich’s String Quartet No. 8, Second Movement, Roger Graybill

17. Playing with Forms: Mozart’s Rondo in D Major, K. 485, William Rothstein

Pitch

18. Two Post-Tonal Analyses, Webern, “Wie bin ich froh!” from Three Songs, Op. 25; Schoenberg, “Nacht,” from Pierrot Lunaire, Op. 21, Joseph N. Straus

19. “This music crept by me upon the waters”: Introverted Motives in Beethoven’s “Tempest” Sonata, Richard Cohn

20. “Rounding Up the Usual Suspects?”: The Enigmatic Narrative of Chopin’s C-sharp Minor Prelude, Charles J. Smith

Texture

21. Texture and Timbre in Barbara Kolb’s Millefoglie for Chamber Orchestra and Computer Generated Tape, Judith Lochhead

ScoresGlossarySelected BibliographyIndex

2004 368 pp. cloth APS STEMUS 978-0-19-517010-8 $55.95

Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style.

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From Sound to SymbolFundamentals of MusicMíCHEáL HOULAHAN and PHILLIP TACK A, both at Millersvil le Universit y of Pennsylvania

The ONLY text that introduces sound before theory


In-text • audio CD that fea-tures all the focal melodies in the text

In-text • CD-ROM that in-cludes tutorials for chapter review, theory exercise drills, and dictation exercises

In-text fold-out • laminated keyboard

Print • Instructor’s Manual (978-0-19-534294-9) of 130 pages with lesson plans, teaching tips on learning as-sessment, aural and written dictation exercises for each chapter, and suggestions for scoring tests

• Takes a sound-to-symbol approach in which concepts are initially explored through the sound of music before moving to an explanation of how symbols are used to represent the sound

Includes • marginal icons that key exercises in music theory, sight reading melodies and rhythms, improvisation and composition, per-formance–ensemble singing, and keyboard performance

Employs • examples from both folk songs and classical music that are simple, memorable, and easy to sing or play

Offers • extensive musical examples and activities for developing musicianship skills

“I have used From Sound to Symbol for two semesters, and liked it very much, and began using it because it uses short tunes that students can sing and clap easily, helping them to learn musical concepts more easily and thoroughly.”—Andrew Carpenter, University of Illinois, Chicago

PrefaceExplanation of Icons and TermsChapter 1. Rhythm 1: Basic Rhythms

in Simple MeterChapter 2. The Keyboard and Notation

of Pitch Chapter 3. Rhythm 2: More Advanced

Rhythms in Simple MeterChapter 4. Orientation to the Major

Scale Chapter 5. The Major Scale

Chapter 6. IntervalsChapter 7. Orientation to the Minor

Scale: Minor Pentachord and Minor Hexachord Scales and Melodies

Chapter 8. The Minor Scale: Natural Form

Chapter 9. The Minor Scale: Harmonic and Melodic Forms

Chapter 10. Rhythm 3: Compound Meter and Advanced Rhythmic Concepts

Chapter 11. Introducing Harmonic Concepts

Chapter 12. An Introduction to Harmonic Progressions

GlossaryIndexAudio CD Track List* For a complete Table of Contents, please


2008 512 pp. paper APS HLHNMT 978-0-19-532770-0 $84.95

F E A T U R E S

With this text/workbook designed for one-semester music fundamentals courses for non-majors, students will learn the rudiments of music theory as they methodically explore music as listeners, performers, critical

thinkers, and composers.

c o n t e n t s *

“The Instructor’s Manual is excellent and shows the wealth of experience that the authors have. It is well organized and very useful—even for the expe-rienced theory teacher.” —Nico Schuler, Texas State, San Marcos


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GIncludes an audio CD featuring rhythm and tonal patterns from the book

Progressive Sight Singing CAROL KRUEGER, Universit y of South Carolina

Ideal for undergraduate courses in ear training and sight singing,

Progressive Sight Singing introduces students to the underlying gram-mar and syntax of musical structure and prepares them to perceive that structure with both the ear and the eye. Working from the premise that students learn musical skills in much the same order as they do language skills, this book employs a unique pedagogical structure that introduces the concept of sound before sight.

Preface to the InstructorPreface to the StudentAn Introduction to the Music Literacy

ProcessStrategies for Successful Sight SingingBuilding Musicianship and IndependencePART I. RHYTHMIC READING

1. Simple Meter—Quarter Note = Beat Unit; Undivided Beat

2. Simple Meter—Quarter Note = Beat Unit; Divided Beat

3. Simple Meter—Quarter Note = Beat Unit; Slur, Tie, and Extension Dot

4. Terms and Symbols5. Compound Meter—Dotted Quarter

= Beat Unit; Divided Beats 6. Simple Meter—Quarter Note = Beat

Unit; Borrowed Beat Division7. Simple Meter—Quarter Note = Beat

Unit; Syncopation8. Simple Meter—Quarter Note = Beat

Unit; Subdivided Beats9. More Terms and Symbols10. Simple Meter—Quarter Note

= Beat Unit; More Rhythms with Borrowed Beat Division

11. Simple Meter—Quarter Note = Beat Unit; More Rhythms with Syncopations

12. Simple Meter—Quarter Note = Beat Unit; More Rhythms with Subdivided Beats

13. Half Note = Beat Unit 14. Simple Meter—Eighth Note = Beat

Unit 15. Compound Meter—More Rhythms16. Cross Rhythms and Hemiola 17. Asymmetrical Meters 18. Mixed Meters PART II. MELODIC READING

1. Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat

2. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat

3. Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters, Undivided Beat

4. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat

5. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes

6. Natural, Harmonic, and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes

7. Major and Minor Modes; Compound Meters—Dotted Quarter = Beat Unit

8. I and v7 in Major Mode; Simple and Compound Meters

9. i and v7 in Minor Mode; Simple and Compound Meters

10. I and v7 Major Mode; Other Rhythms in Simple Meters

11. i and v7 in Minor Mode; Other Rhythms in Simple Meters

12. I and v7 in Major and Minor Modes; Half Note = Beat Unit

13. I and v7 in Major and Minor Modes; Eighth Note = Beat Unit

14. I and v7 in Major and Minor; Compound Meters—More Rhythms

15. I, ii, Iv, and v7 in Major Mode; Simple and Compound Meters

16. i, iv, and v7 in Minor Mode; Simple and Compound Meters

17. Chromatic Alterations; Simple and Compound Meters

18. Modes Appendix A. Rhythm Reading

Systems Appendix B. Tonal Reading Systems

Appendix C. Dictation Appendix D. Conducting Patterns

Appendix E. Glossary of Foreign Terms

Index* For a complete Table of Contents, please


2006 416 pp. paper APS KRUPSS 978-0-19-517847-0 $64.95

F E A T U R E S Trains the ear • first through hearing and imitating patterns

Adds only one new element • per chapter and incorporates components from previous chap-ters into examples and exercises, thereby continuously reinforcing learned skills

• Integrates a rich variety of well-paced, graduated exer-cises covering rhythmic and melodic reading, dictation, au-diation, musical memory, and error detection

Encourages students to actively • participate (sing, chant, write, create, and improvise) in the practice of each concept in or-der to become skilled musicians

Offers instructors great flex-• ibility because they can use whatever tonal and reading sys-tems they prefer to accompany the book

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Packaged with an • audio CD that includes rhythm and tonal patterns intro-duced in the book; this connects the eye to the ear and helps students hone their aural skills

An • Instructor’s Manual expands upon the peda-gogy underlying the book, offers solutions to the ex-ercises, and provides ad-ditional exercises and teaching tips

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Analysis of Tonal MusicA Schenkerian ApproachSecond Edition

ALLEN CADWALLADER, Oberlin College Conservatory of Music, and DAvID GAGNé, Queens College and The Graduate Center, City Universit y of New York

c o n t e n t s

Student Workbook to Accompany Analysis of Tonal Music: A Schenkerian Approach, Second EditionALLEN CADWALLADER, Oberlin College Conservatory of Music, and DAvID GAGNé, Queens College and The Graduate Center, City Universit y of New York

Preface

PART 1. COUNTERPOINT AND STRUCTURAL MELODY Assignment 1: Beethoven,

Seven variations on “God Save the King,” Wo0 78, Theme and variation 5

Assignment 2: Folk Tune: “Ashgrove”

Assignment 3: Chopin, Nocturne in F Minor, Op. 55, No. 1

Assignment 4: Bellini, “Casta Diva” (from Norma)

PART 2. BASS LINES, HARMONIC STRUCTURE, AND THE IMAGINARY CONTINUO

Assignment 5: Mozart, Piano Sonata, K. 457, III (Allegro assai)

Assignment 6: Chopin, valse Brillante, Op. 34, No. 2

Assignment 7: Beethoven, Piano Sonata, Op. 10, No. 2, I

Assignment 8: Schumann, “Little Study,” from Album for the Young, Op. 68, No. 14

Assignment 9: Beethoven, Op. 2, No. 3, III, Trio

PART 3. LINEAR TECHNIQUES Assignment 10: Mozart, Piano

Sonata, K. 280, III Assignment 11: C. P. E. Bach,

“Prussian” Sonata, vivace Assignment 12: Bach, French

Suite in C Minor, BWv 813, Minuet

Assignment 13: Bach, Harpsichord Concerto (after Marcello), BWv 974, II

Assignment 14: vivaldi, Gloria, Rv 589, I

Assignment 15: Bach, Fugue in G Major for Organ (“Jig”), BWv 577

Assignment 16: Bach, Prelude in F Major, BWV 927

PART 4. TECHNIQUES OF MELODIC PROLONGATION

Assignment 17: Mozart, String Quartet, K. 421, Minuet

Assignment 18: Schubert, B b Major Impromptu, Op. 142, No. 3, variation 1

Assignment 19: Chopin, Prelude, Op. 28, No. 15, (“Raindrop”)

Assignment 20: Beethoven, Piano Sonata, Op. 13 (“Pathetique”)

Assignment 21: Mozart, Symphony in C Major (“Jupiter”), K. 551, I

PART 5. ANALYTICAL APPLICATIONS: LOWER-LEvEL FUNDAMENTAL STRUCTURES AND COMPLETE PIECES Assignment 22: Beethoven,

Piano Sonata, Op. 10, No. 1, I

Assignment 23: Beethoven, Piano Sonata, Op. 31, No. 1, II

Assignment 24: Mozart, Rondo in D Major, K. 485

Assignment 25: Schumann, Dichterliebe, “Ich will meine Seele tauchen”

Assignment 26: Beethoven, Bagatelle, Op. 119, No. 9

Assignment 27: Handel, Theme and variations in B b Major, Aria

Assignment 28: Haydn, String Quartet, Op. 74, No. 3, II

Assignment 29: Handel, Minuet in F Major, HWV 516a

Assignment 30: Mozart, Clarinet Quintet, K. 581, III (Trio I)

Assignment 31: Haydn, String Quartet, Op. 74, No. 3, II

Assignment 32: Beethoven, Piano Sonata, Op. 7, II

Assignment 33: Mozart, Piano Sonata, K. 279, Andante

Assignment 34: Clementi, Sonatina, Op. 36, No. 3, I

2007 164 pp. paper APS CADAWB 978-0-19-530177-9 $19.95

PrefacePART 1. BASIC PRINCIPLES1. Introduction2. Melody and Counterpoint3. Bass Lines and Harmonic Structure4. Linear Techniques5. Tonal Structure6. Techniques of Melodic Prolongation

7. Some Basic Elaborations of Fundamental Structures

PART 2. ANALYTIC APPLICATIONS

8. One-Part Forms 9. Binary Forms10. Ternary Forms and Rondo 11. Sonata Principle 12. Some Common Tonal Patterns

NotesSelected BibliographyIndex of Musical ExamplesSubject Index


2006 416 pp. cloth APS CADAN2 978-0-19-530176-2 $64.95

Accompanied by a • Student Workbook (see below)

Includes a primer on • graphic notation (as an appendix)

Provides examples that • demonstrate the com-mon middle ground plans underlying Ba-roque binary move-ments

Offers suggestions • for further analysis at chapter ends and refers students to ap-propriate workbook exercises

F E A T U R E S

Designed as an introduction for upper-level undergraduates and beginning graduate students, this book explains the structural principles of Schenkerian analysis in actual composition rather than through models and formulas.

It teaches students how to think about and critically examine compositions in ways that will inform their understand-ing and performance of great compositions of Western art music. The text includes more than 200 analytical graphs, musical examples, and a bibliography.

This accompanying Student Workbook contains thirty-four exercises designed to serve as class and homework assignments for an introductory course in Schenkerian Analysis. Most assignments consist of instructions,

scores, and worksheets, and also include hints, instructions, and guiding questions.

c o n t e n t s *

Package the text and

workbook together for only $72.95!

($84.90 value) (Pkg. ISBN 978-0-19-532935-3)

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WThe ONLY music theory review written specifically for graduate students

Graduate Review of Tonal TheoryA Recasting of Common-Pr actice Harmony, Form, and CounterpointSTEvEN G. LAITZ, Eastman School of Music, and CHRISTOPHER BARTLETTE, Baylor Universit y

PrefaceSetting the Stage

PART I. CONTEXTUALIZING THEORY AND ANALYSIS: FUNDAMENTALS

1. MusicAl tiMe And spAce

The Metrical Realm

Accent in MusicTemporal Accents Nontemporal AccentsMetrical DisturbanceThe Pitch Realm

Pitches and Pitch ClassesScalesKeysIntervalsConsonance and DissonanceMelody: Characteristics and Writing

2. hArnessing MusicAl tiMe And spAce

Species Counterpoint

First-Species (1:1) Counterpoint

Contrapuntal Motions Rules and Guidelines for First-Species

CounterpointSecond-Species (2:1) Counterpoint

Rules and Guidelines for Second-Species Counterpoint

Adding voices: Triads and Seventh Chords

TriadsFigured BassTriads and the Scale: Harmonic AnalysisSeventh ChordsMusical Texture

3. MAking choices: when hArMony, Melody, And rhythM converge

Tonal Hierarchy in Music

Tones of Figuration

Melodic Fluency

PART II. DIATONIC HARMONY: FUNCTIONS, EXPANSIONS, AND THE PHRASE MODEL

4. coMposition And AnAlysis: using i, v, And v7

Tonic and Dominant as Tonal Pillars and Introduction to voice Leading

The CadenceIntroduction to voice LeadingTexture and RegisterSpacingSummary of voice-Leading Rules and

GuidelinesThe Dominant Seventh and Chordal

Dissonance

Part Writing with the Dominant Seventh Chord

Analytical Extension: The Interaction of Harmony, Melody, Meter, and Rhythm

EmbellishmentReduction Second-Level Analysis

5. contrApuntAl expAnsions oF tonic And doMinAnt

Contrapuntal Expansions with First-Inversion Triads

Chordal Leaps in the Bass: I6 and v6

Neighboring Tones in the Bass: v6

Structural and Subordinate HarmoniesPassing Tones in the Bass: vii°6 and Iv6

Tonic Expansion with Arpeggiating Bass: Iv6

Contrapuntal Expansions with Seventh Chords

v7 and its Inversionsvoice-Leading Inversions of v7

Leading Tone Seventh Chords: vii°7

Analytical Extension: Invertible Counterpoint

Invertible Counterpoint below the Music’s Surface

6. the pre-doMinAnt, the phrAse Model, And AdditionAl eMbellishMents

The Pre-Dominant Function

The Subdominant (IV in Major, iv in Minor)

The Supertonic (ii in Major, ii° in Minor)Part Writing Pre-DominantsExtending the Pre-DominantIntroduction to the Phrase Model

Accented and Chromatic Dissonances

Accented Passing Tone (>p)Chromatic Passing ToneAccented Neighbor Tone (>

n)Chromatic Neighbor ToneAppoggiatura (AAP)

Suspension (S)Labeling SuspensionsWriting SuspensionsAnticipation (ANT)Pedal (PED)Analytical Extension: Revisiting the

Subdominant

Contrapuntal Expansion with IvPlagal Cadence

“The exercises in the accompanying workbook are inspirationally clever . . . . I like the wide variety of ‘real music’ examples as well and I suspect my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about matters such as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting.” —Neil Minturn, University of Missouri

c o n t e n t s

Based on The Complete Musician (pp. 30–31), this text goes beyond the undergraduate level to address

students as colleagues and explores analytical applications that are appealing and practical. The text provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of com-mon-practice tonal music. Each chapter ends with two- to three-page “Analytical Extensions,” which introduce one new topic through one or two works from the repertoire, and then develop the topic in a model analysis. Appendixes include keyboard exercises, model composition strategies and assignments, and sample solutions.

Pulls together the essential concepts of music theory • and pieces from the repertoire that expand upon and refine the analytical applications taught in the undergraduate theory curriculum

Innovative, chapter-ending “Analytical Extensions” • introduce one new topic through model analysis

• Accompanying workbook (978-0-19-537699-9) (and included DvD) is organized by chapter into discrete assignments (3–5 per chapter), each pro-gressing from short, introductory analytical and writing exercises to more-involved tasks

F E A T U R E S

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PART III. ELABORATING THE PHRASE MODEL AND COMBINING PHRASES

7. six-Four chords, nondoMinAnt seventh chords, And reFining the phrAse Model

Six-Four ChordsUnaccented Six-Four ChordsAccented Six-Four ChordsWriting Six-Four ChordsSummary of Contrapuntal Expansions

Nondominant Seventh Chords: Iv7 (Iv6

5) and ii7 (ii65)

Part Writing Nondominant Seventh Chords

Embedding the Phrase Model Analytical Extension: Expanding the

Pre-Dominant

8. the subMediAnt And MediAnt hArMonies

The Submediant (vi in Major, vI in Minor)

The Submediant as Bridge in the Descending-Thirds Progression

The Submediant as Bridge in the Descending Circle-of-Fifths Progression

The Submediant as Tonic Substitute in the Ascending-Seconds Progression

The Submediant as the Pre-Dominantvoice Leading for the SubmediantThe Step Descent in the Bass

Mediant (iii in Major, III in Minor)

A Special Case: Preparing the III Chord in Minor

voice Leading for the MediantGeneral Summary of Harmonic

Progression

Analytical Extension: The Back-Relating Dominant

9. the period, the double period, And the sentence

The Period

Types of PeriodsPeriod LabelsThe Double Period

The Sentence

Analytical Extension: Modified Periods

10. hArMonic sequences: concepts And pAtterns

Components and Types of Sequences

The Descending-Fifths Sequence (–5/+4) The (–5/+4) Sequence in InversionThe Pachelbel, or Descending 5–6,

Sequence (–4/+2)The (–4/+2) Sequence in InversionThe Ascending-Fifths Sequence (+5/–4)The Ascending 5–6 Sequence (–3/+4)Sequences with Diatonic Seventh

Chords

Writing Sequences

Analytical Extension: Melodic Sequences and Compound Melody

PART Iv. CHROMATICISM AND LARGER FORMS

11. Applied chords And tonicizAtion

Applied Dominant Chords

Applied Chords in Inversionvoice Leading for Applied Dominant

ChordsApplied Leading-Tone Chords

Extended Tonicization

Analytical Extension: Sequences with Applied Chords

The (–5/+4) SequenceThe (–4/+2) SequenceThe (–3/+4) Sequence

12. ModulAtion And binAry ForM

Modulation

Closely Related KeysAnalyzing ModulationsWriting ModulationsModulation in the Larger Musical

ContextThe Sequence as a Tool in ModulationBinary Form

Balanced Binary FormSummary of Binary Form Types

Analytical Extension: Binary Form in Baroque Dance Suites

13. expressive chroMAticisM: ModAl Mixture And chroMAtic ModulAtion

Modal Mixture

Altered Pre-Dominant Harmonies: iv and ii°

Altered Submediant Harmony: bvIAltered Tonic Harmony: iAltered Mediant Harmony: bIIIvoice Leading for Mixture HarmoniesPlagal Motions

Modal Mixture, Applied Chords, and Other Chromatic Harmonies

Expansion of Modal Mixture Harmonies: Chromatic Modulation

Chromatic Pivot-Chord ModulationsWriting Chromatic Pivot-Chord

ModulationsUnprepared and Common-Tone

Chromatic ModulationsAnalytical Extension: Modal Mixture

and Text-Music Relations

Analytical Payoff: The Dramatic Role of bvI

14. the neApolitAn And AugMented sixth chords

The Neapolitan Chord

Writing the Neapolitan Chord Other Uses for the Neapolitan ChordThe Augmented Sixth Chord

Types of Augmented Sixth ChordsWriting Augmented Sixth ChordsbvI and the Ger6

5 Chord

The Augmented Sixth Chord as a Pivot Chord

Analytical Extension: Prolongation with bII and +6 Chords

Augmented Sixth Chords as Part of PD Expansions

15. ternAry And sonAtA ForMs

Ternary Form

Transitions and RetransitionsDa Capo Form: Compound Ternary

Form Minuet-Trio FormSonata Form

The Binary Model for Sonata FormTransitionClosing SectionDevelopment and RetransitionRecapitulation and CodaAnalytical Extension: Motivic

Expansion

ExpositionDevelopment

Appendix A: AdditionAl ForMAl procedures

Subphrases and Composite Phrases

variation Techniques

Continuous variationsSectional variationsTernary Form and the Nineteenth-

Century Character Piece

Rondo

The Classical RondoFive-Part RondoCoda, Transitions, and RetransitionsCompound Rondo FormSeven-Part Rondo Further Characteristics of Sonata Form

Monothematic Sonata FormThe Slow IntroductionOther Tonal Strategies

Appendix b: glossAry oF AbbreviAtions

Appendix c: terMinologicAl equivAlents

Appendix d: listing oF dvd text And workbook exAMples

Index of Terms and Concepts

2009 240 pp. cloth APS GRADLA 978-0-19-537698-2 $39.95

Student Workbook to Accompany Graduate Review of Tonal TheoryThe authors have devised sixty-one diverse exercise sets that correlate with material in the text. These assignments in-clude writing and analytical exercises that enable students to further integrate harmony and counterpoint through visual and aural tasks. There is also a separate section of keyboard activities at the end of the workbook. visit www.oup.com/us/he to view a full list of workbook exercises.2009 288 pp. paper 978-0-19-537699-9 $34.95

Package the text and

workbook togetherfor only $60! ($74.90 value)

(Pkg. ISBN 978-0-19-538628-8)

Includes a FREE in-text

DVD!

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A comprehensive text that motivates students to learn theory by integrating skills and focusing on musicality

The Complete MusicianAn Integr ated Approach to Tonal Theory, Analysis, and ListeningSecond Edition

STEvEN G. LAITZ, Eastman School of Music

Includes two FREE in-text DvDs of music and exercises!

PACKAGE Student Workbooks with The Complete Musician, Second Edition, and SAVE!

Text + Student Workbook, vol.1 = $115.00

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Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum,

The Complete Musician, Second Edition, relies on a diverse repertoire and innovative exercises to explicitly connect theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class.

Beginning with a review of music fundamentals, this text covers all the topics necessary for a thorough understand-ing of music theory at the undergraduate level by focusing on music in context. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms.

F E A T U R E S Fully revised throughout, providing more explana-• tory materials on the fundamentals, more summary charts and step-by-step diagrams, and more practice exercises

Numerous analyses throughout the book, including • thirteen “Model Analysis” sections, which provide extended analyses of canonical pieces

Outstanding quality, quantity, and diversity of ex-• ercises, keyed by skill area (performing, listening, writing, analysis, and keyboard) and geared toward real music and real music situations

Progresses from simple melody to a combination of • two melodies as counterpoint, which is the frame-work for all harmonic concepts developed in the text

Almost 4,000 musical examples from the common-• practice repertoire are included in the text and work-books, more than ninty percent of which are on the DvDs and MP3 files included with text and workbooks (All music is performed, recorded, and engineered at Eastman)

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Includes a DvD!

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PART 1: THE FOUNDATION OF TONAL MUSIC1. The Pitch Realm: Tonality,

Notation, and Scales2. Pulse, Rhythm, and Meter3. Intervals and Melody4. Controlling Consonance and

Dissonance: Introduction to Two-voice Counterpoint

5. Triads, Inversions, Figured Bass, and Harmonic Analysis

6. Seventh Chords, Musical Texture, and Harmonic Analysis

PART 2: MERGING MELODY AND HARMONY7. Hierarchy in Music: Consonance,

Unaccented Dissonance, and Melodic Fluency

8. Tonic and Dominant as Tonal Pillars and Introduction to voice Leading

9. The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to v7

10. Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords

11. More Contrapuntal Expansions: Inversions of v7, and Introduction to Leading Tone Seventh Chords

PART 3: A NEW HARMONIC FUNCTION AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS12. The Pre-Dominant Function and

the Phrase Model

13. Accented and Chromatic Dissonances

14. Six-Four Chords and Revisiting Iv15. Invertible Counterpoint,

Compound Melody, and Implied Harmonies

16. The Motive

PART 4: NEW CHORDS COMPLETE THE DIATONIC SPECTRUM17. The Phrase Model Refined:

Perceptions, Animation, and Expansion

18. The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model

19. The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships

PART 5: CREATING LARGER FORMS20. The Period21. Other Small Musical Structures:

Sentences, Double Periods, and Asymmetrical Periods

22. Harmonic Sequences: Concepts and Patterns

23. Sequences within Larger Musical Contexts and Sequences with Seventh Chords

PART 6: CHROMATICISM24. Applied Chords25. Tonicization and Modulation26. Binary Form and variations

PART 7: EXPRESSIvE CHROMATICISM27. Modal Mixture28. Expansion of Modal Mixture

Harmonies: Chromatic Modulation and the German Lied

29. The Neapolitan Chord (bII)30. The Augmented Sixth Chord

PART 8: LARGE FORMS: TERNARY, RONDO, SONATA31. Ternary Form32. Rondo33. Sonata Form

PART 9: INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY34. New Harmonic Tendencies35. The Rise of Symmetrical Harmony

in Tonal Music36. Melodic and Harmonic Symmetry

Combine: Chromatic Sequences37. At Tonality’s EdgeIndex of Terms and Concepts

Index of Musical Examples and Exercises


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c o n t e n t s *


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The ONLY anthology that organizes a wide range of musical excerpts by harmonic topic AND includes complete pieces

Music for AnalysisExamples from the Common Pr actice Period and the Twentieth CenturySeventh Edition

THOMAS BENJAMIN, Johns Hopkins Universit y, and MICHAEL HORvIT and ROBERT NELSON, both at Universit y of Houston

“Outstanding features include the number and variety of examples (in style, genre, and perfor-mance medium), their organization by topic, the CD, the Model Analyses, the complete pieces, and the analytical guidelines and questions. The new Model Analyses add more depth to the text and en-able it to be used in a wider variety of class offerings. As an anthology that can be used for both harmony and form classes (or a combination thereof), this text can’t be beat.”—Ellon Carpenter, Arizona State University

“I have never seen an anthology that comes close to this one for extensive-ness, playability, variety, and practicality for theory classes.”—Robert Young McMahan, The College of New Jersey

N E W t o t h e S E v E N T H E D I T I O N

• Seven new Model Analyses (four chromatic tonal excerpts and three from the twentieth century)

• Two additional complete pieces (a four-movement Beethoven sonata and the prelude to Act I of Tristan und Isolde)

A • CD icon with track numbers appearing next to the 145 musical examples that can be found on the accompanying audio CD

Notes

* = New to this edition

= Included on CD Each Part opens with Suggestions for

Discussion

CD Track List Preface Suggestions for Using This Book

PART I: DIATONIC MATERIALS

1) tonic triAd

Questions for Analysis1. HAYDN, Sonatina in G Major, Hob.

XvI: 8

2. CZERNY, Sonatina, op. 792, no. 8 3. RIMSKY-KORSAKOv, Le Coq d’Or:

Hymn to the Sun 4. BEETHOvEN, Leonora Overture No.

2, op. 72 5. BEETHOvEN, Trio, op. 70, no. 2 6. CHOPIN, Polens Grabgesang, op. 74 7. CHOPIN, valse (Posthumous) 8. BEETHOvEN, Symphony No. 5, op. 679. COUPERIN, Carnival

2) doMinAnt triAd in root position

Questions for Analysis 10. MOZART, Rondo 11. KUHNAU, Biblical Sonata No. 1:

victory Dance and Festival 12. BEETHOvEN, Für Elise 13. SCHUMANN, Album for the Young,

op. 68: Reiterstück 14. WEBER, Euryanthe, op. 81: Overture 15. BEETHOvEN, Symphony No. 5,

op. 67

c o n t e n t s

Offering 470 pieces of music from the Baroque period to the present, Music for Analysis, Seventh Edition, is the most comprehensive anthology of its kind.

F E A T U R E S Provides • 363 excerpts organized logically by har-monic content and 107 complete pieces; ideal for traditional form and analysis courses as well as tonal harmony courses

Includes an • audio CD of 145 examples from the text, played on the piano, harpsichord, or organ

Integrates • ten Model Analyses showing the detail expected at each level of study and reinforcing the goal of comprehensive analysis

Guides study both within and outside of class, of-• fering Suggestions for Discussion and Questions for Analysis throughout

Features a • detailed Index of Composers and Their Compositions and an Index of Complete Pieces

COMPARE. . . and SAVE!We invite you to compare the price* and quality of Music for Analysis, Seventh Edition, the most comprehensive and accessible anthology of its kind, to other texts published for your course:


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The Musician’s Guide to Theory and Analysis: Anthology

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3) doMinAnt seventh And ninth in root position

Questions for AnalysisModel Analysis 16. WEBER, German Dance 17. MOZART, Sonata, K. 332 18. SCHUBERT, Wiegenlied, op. 98,

no. 2 19. vERDI, Rigoletto, Act I, no. 2 20. HAYDN, Sonata in E Major, Hob.

XvI: 13 21. BEETHOvEN, Symphony No. 4,

op. 6022. WEBER, Oberon: Overture 23. SCHUBERT, Ländler 24. SCHUBERT, valses Nobles, op.

77 25. MOZART, valse

4) subdoMinAnt triAd in root position

Questions for Analysis 26. SCHEIDT, Bergamasca 27. SCHUMANN, Faschingsschwank

aus Wien, op. 26, no. 3: Scherzino 28. CHOPIN, Mazurka, op. 17, no. 1 29. BEETHOvEN, Egmont Overture,

op. 84 30. vERDI, Rigoletto, Act I, no. 7 31. SCHUBERT, Impromptu, op. 90,

no. 4, D. 899 32. KERN, Look for the Silver Lining 33. BEETHOvEN, Seven Country

Dances, no. 7 34. SCHUBERT, Ländler

5) cAdentiAl tonic six-Four chord

Questions for Analysis 35. SCHUBERT, valses

Sentimentales, op. 50, no. 18 36. CHOPIN, Mazurka, op. 24, no. 3 37. DONIZETTI, Lucia di

Lammermoor, Act II, no. 6 38. BEETHOvEN, Trio, op. 97

6) tonic, subdoMinAnt, And doMinAnt triAds in First inversion

Questions for AnalysisModel Analysis 39. BACH, Lobt Gott, ihr Christen,

allzugleich 40. MOZART, Bastien und Bastienne,

K. 46B, no. 9 41. MOZART, Sonata, K. 332 42. HAYDN, Sonata in D Major,

Hob. XvI:37 43. MOZART, Abendempfindung,

K. 523 44. BEETHOvEN, Symphony No. 5,

op. 67 45. BEETHOvEN, Fidelio, Act I, no. 9 46. MOZART, Sonata, K. 570 47. MENDELSSOHN, Elijah, op. 70,

no. 29 48. COUPERIN, Le Petit Rien 49. DANDRIEU, Les Fifres

7) supertonic triAd Questions for Analysis 50. ANONYMOUS, Dir, dir,

Jehovah, will ich singen 51. SCHUBERT, Waltz, op. 9, no. 3,

D. 365

52. BEETHOvEN, Six variations on “Nel cor più non mi sento”

53. MOZART, Die Zauberflöte, K. 620, Act II, no. 21

54. CHOPIN, Zwei Leichen 55. BEETHOvEN, Trio, op. 121A 56. vERDI, Rigoletto, Act II, no. 14 57. CHOPIN, Mazurka, op. 33, no. 2 58. HAYDN, Sonata in E Minor, Hob.

XvI: 34

8) inversions oF the doMinAnt seventh chord

Questions for Analysis 59. J. C. F. BACH, Nun danket alle

Gott 60. HAYDN, Sonata in C Major,

Hob. XvI: 35 61. PAISIELLO, Le donne sur balcone 62. MOZART, Quartet, K. 464 63. BEETHOvEN, Sonata, op. 31,

no. 3 64. RAMEAU, Sarabande I, vol. I 65. HAYDN, Trio in C Major, Hob.

Xv: 3 66. KUHLAU, Sonatina, op. 20, no. 1 67. BEETHOvEN, Symphony No. 2,

op. 36 68. BEETHOvEN, Minuet in C

9) lineAr (eMbellishing) six-Four chords

Questions for Analysis69. BEETHOvEN, Concerto No. 1 for

Piano, op. 15 70. SCHUBERT, valses

Sentimentales, op. 50, no. 1, D. 779 71. MOZART, Rondo, K. 485 72. HAYDN, Quartet, op. 3, no. 5 73. SCHUBERT, Waltz, op. 9, no. 1,

D. 365 74. KUHLAU, Sonatina, op. 88, no. 3 75. MOZART, Symphony No. 35, K. 385 76. BEETHOvEN, Sonatina in G

Major 77. BEETHOvEN, Symphony No. 7,

op. 92 78. MOZART, Symphony No. 41, K.

551 79. HAYDN, Sonata in D Major,

Hob. XvI: 37 80. BEETHOvEN, Contradanse 81. BUXTEHUDE, Passacaglia 82. BEETHOvEN, Symphony No. 3,

op. 55 83. GOUNOD, Faust, Act I, no. 6 84. SULLIvAN, H.M.S. Pinafore,

“I’m Called Little Buttercup”

10) subMediAnt And MediAnt triAds

Questions for Analysis 85. CRÜGER, Herzliebster Jesu,

was hast du verbrochen 86. ANONYMOUS, Dir, dir,

Jehovah, will ich singen 87. BACH, Schmücke dich, o liebe

Seele 88. MOZART, Bastien und Bastienne,

K. 46B, no. 1 89. MOZART, Sonata, K. 545 90. HANDEL, Sonata in F for Flute

and Continuo 91. vERDI, Rigoletto, Act I, no. 1 92. BRAHMS, Symphony No. 4, op. 98

93. CORELLI, Sonata for violin and Continuo, op. 5, no. 9

94. SCHUBERT, Quartet in D Major, D. 74

95. BEETHOvEN, Trio, op. 1, no. 3 96. MOZART, Sonata, K. 283 97. J. C. F. BACH, Menuet 98. TESSIER, Au joli bois je m’en vais 99. STRAUSS, Der Rosenkavalier,

Act III 100. BRAHMS, Romance, op. 118,

no. 5 101. SCHUMANN, Phantasiestücke,

op. 12, no. 4, Grillen 102. SCHUBERT, Im Abendroth

(Posthumous) 103. SCHUBERT, Symphony in C

Major (“The Great”)

11) leAding tone triAd Questions for Analysis104. TESCHNER, Schatz über alle

Schätze 105. BACH, Aus meines Herzens

Grunde 106. SCHUMANN, Album for the

Young, op. 68: Soldatenmarsch 107. HANDEL, Courante 108. HAYDN, Sonata in E Major,

Hob. XvI: 49 109. HAYDN, Sonatina in D Major,

Hob. XvI: 4 110. MOZART, Sonata, K. 280 111. DAQUIN, La Joyeuse

12) vAriAnt quAlities oF diAtonic triAds

Questions for AnalysisScalar variants in Minor 112. BACH, Herr, ich habe

mibgehandelt 113. PACHELBEL, Chaconne 114. TELEMANN, Fantasie No. 8 115. BYRD, Pavana “The Earle of

Salisbury” 116. A. SCARLATTI, Folia 117. MATTHESON, Minuet 118. MOZART, Sonata, K. 310 Modal Borrowing

119. vERDI, La Traviata, Act I, no. 4 120. DONIZETTI, Linda di

Chamounix, “O luce di quest’anima” 121. MOZART, Sonata for violin and

Piano, K. 306 122. HAYDN, Sonatina in C Major,

Hob. XvI: 7 123. SCHUBERT, Aufenthalt 124. SCHUBERT, Der Wanderer 125. BRAHMS, Symphony No. 3, op. 90 126. vERDI, Il Trovatore, Act II, no. 11 127. BEETHOvEN, Symphony No. 5,

op. 67 128. BRAHMS, Symphony No. 4, op. 98

13) supertonic seventh chord

Questions for Analysis 129. ANONYMOUS, Herr, wie du

willst, so schick’s mit mir 130. BACH, Straf ’ mich nicht in

deinem Zorn 131. HAYDN, Sonata in A Major, Hob.

XvI: 46 132. GRIEG, voegtersang 133. BEETHOvEN, Symphony No. 6,

op. 68 134. SCHUBERT, Quartet, op. 168,

D. 112 135. MOZART, Sonata, K. 310 136. SCHUBERT, Ständchen 137. BEETHOvEN, Symphony No. 2,

op. 36 138. BEETHOvEN, Sonata, op. 14,

no. 2 139. BEETHOvEN, Symphony No. 6,

op. 68 140. BIZET, Carmen, Act II: Entr’acte 141. RODGERS, Blue Moon

14) leAding tone seventh chord

Questions for Analysis142. DvORAK, Quartet, op. 96 143. MOZART, Sonata, K. 457 144. SCHUMANN, Carnaval, op. 9:

Chiarina 145. BRAHMS, Ballade, op. 10, no. 4 146. HANDEL, Sonata for Flute and

Continuo 147. HAYDN (?), Allegro 148. HAYDN, Trio in G Major, Hob.

Xv: 25 149. MOZART, Requiem, K. 626:

Offertorium 150. HAYDN, Sonatina in G Major,

Hob. XvI: 11 151. HANDEL, Judas Maccabaeus,

Part III: No. 53, Introduction 152. WAGNER, Das Rheinghold,

Scene 1 153. GLUCK, Orphée, Act I, no. 1 154. HANDEL, Ariaçon variazioni,

Leçon No. 1 98 155. TELEMANN, Fantasia, 1er

Dozzina, no. 5 156. MOZART, Sonata for violin and

Piano, K. 306

15) other diAtonic seventh chords

Questions for Analysis 157. BACH, O Ewigkeit, du

Donnerwort 158. MOZART, Rondo. K. 494 159. MENDELSSOHN, Kinderstück,

op. 72, no. 1 160. PACHELBEL, Fantasie 161. HANDEL, Sonata for Flute and

Continuo 162. HANDEL, Leçon No. 2, Menuet 163. TCHAIKOvSKY, Symphony No.

4, op. 36 164. BACH, French Suite in D Minor

16) coMplete pieces For AnAlysis

Questions for Analysis 165. BEETHOvEN, Minuet 166. SCHUBERT, Dance 167. SCHUBERT, German Dance, op.

33, no. 12 168. BEETHOvEN, Scottish Dance 169. PURCELL, Rigadoon 170. RAMEAU, Minuet 171. WITT, Passacaglia 172. GRIEG, Norsk

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PART II: CHROMATIC MATERIALS

17) secondAry (Applied, borrowed) doMinAnts

Questions for AnalysisModel Analysis 173. BEETHOvEN, Trio, op. 1, no. 1 174. MOZART, Sonata, K. 281 175. SCHUBERT, Impromptu, op.

142, no. 3 176. HAYDN, Trio in D Major 177. BEETHOvEN, Sonatina in G

Major 178. WEBER, Oberon: Overture 179. BEETHOvEN, Trio, op. 1, no. 1 180. SCHUMANN, Sonata, op. 118c,

Andante 181. BEETHOvEN, Symphony No. 1,

op. 21 182. HANDEL, Suite XI 183. SCHUMANN, Arabeske, op. 18 184. BEETHOvEN, Symphony No.

4, op. 60 185. SCHUMANN, Widmung, op.

25, no. 1 186. SCHUBERT, Symphony No. 8

(“Unfinished”) 187. SCHUMANN, Sonata, op.

118c126, Puppenwiegenlied

188. SCHUBERT, Quintet (“Die Forelle”), op. 114, D. 667

189. BEETHOvEN, Quintet, op. 29 190. BEETHOvEN, Trio, op. 11 191. vERDI, Rigoletto, Act II, no. 7 192. HANDEL, Suite XvI 193. BEETHOvEN, Sonata, op. 53 194. SCHUBERT, Symphony in C

Major (“The Great”) 195. BEETHOvEN, Trio, op. 1, no. 3 196. SCHUBERT, Mass in E Major:

Benedictus 197. MENDELSSOHN, Midsummer

Night’s Dream, op. 61: Wedding March

198. vERDI, Rigoletto, Act II, no. 14 199. BACH, Christmas Oratorio, no. 4:

Introduction 200. HANDEL, Sonata vII for Flute

and Continuo 201. CHOPIN, Mazurka, op. 67, no. 2 202. CHOPIN, valse, op. 69, no. 1 203. CHOPIN, valse Brillante, op.

34, no. 3 204. GERSHWIN, Someone to Watch

Over Me 205. TCHAIKOvSKY, Morning

Prayer

18) ModulAtion to closely relAted keys

Questions for AnalysisModulation to Dominant

206. MOZART, Symphony No. 39, K. 543

207. MOZART, Sonata, K. 331 208. BEETHOvEN, Symphony No.

2, op. 36 209. HAYDN, Minuet 210. SCHUBERT, Quartet, D. 173 211. HAYDN, Sonata in C Minor,

Hob. XvI: 36 212. MOZART, Symphony No. 41, K.

551

213. CHOPIN, Mazurka, op. 7, no. 2 214. HAYDN, Sonata in G Major,

Hob. XvI: 39 215. MOZART, Sonata, K. 282,

Menuet I 216. SCHUBERT, Quartet, D. 173 Modulation to Relative Major 217. HAYDN, Trio in F Minor, Hob.

Xv: 26 218. HAYDN, Sonata in E Minor,

Hob. XvI: 34 219. MOZART, Sonata, K. 330 220. DONIZETTI, Lucia di

Lammermoor, Act I, Cavatina 221. BRAHMS, Quintet, op. 115 222. BEETHOvEN, Symphony No.

7, op. 92 223. HAYDN, Symphony No. 104,

Hob. I: 104 Modulation to other Closely Related

Keys 224. HAYDN, Sonatina, Hob. XvI: 1 225. BONONCINI, Deh più a me non

vàscondete 226. SAINT-SAËNS, Carneval des

Animaux: Le Cygne 227. BRAHMS, Waltz, op. 39, no. 15 228. BEETHOvEN, Quartet, op. 18,

no. 2 229. PURCELL, Dido and Aeneas, Act

I, scene I 230. BACH, French Suite in C Minor

19) coMplete pieces For AnAlysis ii

Checklist for Analysis 231. BACH, Wachet auf, ruft uns die

Stimme 232. BACH, In dulci jubilo 233. BACH, Christ lag in Todesbanden 234. HANDEL, Menuet 235. BEETHOvEN, Sonata, op. 26 236. SCHUMANN, Sonata, op. 118b.,

Abendlied 237. BRAHMS, Waltz, op. 39 238. HANDEL, Prelude 239. BEETHOvEN, Sonatina in F

Major 240. HAYDN, Sonata in G Major, Hob.

XvI: 27 * 241. GERSHWIN, I Got Rhythm

20) lineAr (eMbellishing) diMinished seventh chords

Questions for Analysis242. HAYDN, Symphony No. 104,

Hob. I: 104, Menuet 243. BEETHOvEN, Symphony No.

7, op. 92 244. LISZT, Les Préludes 245. BEETHOvEN, Contradanse 246. TCHAIKOvSKY, Symphony No.

6, op. 74 247. BEETHOvEN, Quartet, op. 18,

no. 3 248. SCHUBERT, Sonata, op. 53 249. GOUNOD, Faust, Act Iv, no. 18 250. SCHUMANN, Carnaval, op. 9:

Arlequin 251. MOZART, Waltz, K. 567 252. WAGNER, Rienzi: Overture 253. BELLINI, I Puritani, Act II, scene 3 254. HAYDN, Symphony No. 104,

Hob. I: 104

255. RODGERS, The Girl Friend 256. BRAHMS, Liebeslieder Walzer,

op. 52, no. 4

21) neApolitAn triAd Questions for Analysis 257. MOZART, Concerto in A Major,

K. 488 258. SCHUBERT, Der Müller und der

Bach 259. BACH, Ach Gott, vom Himmel

sieh’ darein 260. BACH, Invention No. 13 261. vERDI, Il Trovatore, Act II, no. 8 262. BRAHMS, Intermezzo in A

Major, op. 118, no. 2 263. CHOPIN, Prelude, op. 28, no. 20 264. BEETHOvEN, String Quartet,

op. 59, no. 2 265. BRAHMS, Wie Melodien zieht es

mir, op. 105 266. BEETHOvEN, Quartet, op. 18,

no. 3 267. SCHUBERT, Mass in E Major:

Credo 268. BACH, The Well-Tempered

Clavier, vol. II, Fugue 17 269. CHOPIN, Prelude, op. 28, no. 6

22) AugMented sixth chords, subMediAnt degree As lowest note

Questions for AnalysisModel AnalysisItalian 270. BACH, Ich hab’ mein’ Sach’ Gott

heimgestellt 271. BEETHOvEN, Bagatelle, op.

119, no. 1 272. BEETHOvEN, Coriolan

Overture, op. 62 273. TCHAIKOvSKY, Mazurka 274. SCHUBERT, Quartet, op. 168,

D. 112 275. BEETHOvEN, Symphony No.

1, op. 21 German 276. MOZART, Sonata, K. 457 277. BEETHOvEN, Sonata, op. 109 278. HAYDN, Trio, Hob. Xv: 25 279. BEETHOvEN, Thirty-Two

variations, var. 30 280. SIBELIUS, Chanson Sans Paroles,

op. 40, no. 2 281. STRAUSS, Der Rosenkavalier, Act I French 282. MENDELSSOHN, Elijah, op. 70,

no. 1 283. SCHUBERT, Mass in G Major:

Kyrie 284. BACH, Wer nur den lieben Gott

läßt walten 285. SCHUBERT, Sonata, op. 42 286. vERDI, La Traviata, Act III:

Prelude 287. SCHUBERT, Symphony in C

Major (“The Great”) 288. GRIEG, Alfedans, op. 12 289. HERBERT, Gypsy Love Song Enharmonic German

290. SCHUMANN, Dichterliebe, op. 48, no. 12: “Am leuchtenden Sommermorgen”

23) AuguMented sixth chords, other scAle degrees As lowest note

Questions for Analysis 291. MOZART (?), Adagio 292. GRANADOS, valses Poeticos 293. SCHUBERT, Symphony No. 8

(“Unfinished”) 294. MOUSSORGSKY, Songs and

Dances of Death, no. 4 295. GLUCK, Orphée, Act I, nos. 6 and 7

24) AuguMented sixth chords, other uses

Questions for AnalysisLinear 296. vERDI, Rigoletto, Act I: Prelude 297. TCHAIKOvSKY, Song Without

Words 298. TCHAIKOvSKY, Romeo and

Juliet 299. SCHUBERT, Waltz 300. BRAHMS, Intermezzo, op. 76,

no. 4 301. TCHAIKOvSKY, The Witch Secondary 302. CHOPIN, Prelude, op. 28, no.

22 303. SCHUBERT, Mass in G Major:

Benedictus 304. SCHUBERT, Die Allmacht, op.

79, no. 2 Altered Dominants 305. SCHUBERT, Quintet, op. 163 306. LISZT, Liebestraum, no. 3 307. RIMSKY-KORSAKOv,

Snowmaiden, Chanson du Bonhomme Hiver

308. GRIEG, Solvejg’s Lied

25) other MeAns oF ModulAtion

Questions for AnalysisModel Analysis309. SCHUBERT, Mass in G Major:

Gloria 310. BRAHMS, Wenn du nur zuweilen

lächelst, op. 57, no. 2 311. BEETHOvEN, Symphony No. 5,

op. 67 312. SCHUBERT, Waltz, op. 9, no.

14, D. 365 313. MOZART, Die Entführung aus

dem Serail, K. 384, Act III, no. 18 314. SCHUMANN, Symphony No. 2,

op. 61 315. BEETHOvEN, Symphony No. 7,

op. 92 316. HAYDN, String Quartet, op. 76,

no. 6 317. BEETHOvEN, Sonata, op. 13 318. BEETHOvEN, Trio, op. 70, no. 1 319. SCRIABIN, Prelude, op. 13,

no. 3 320. J. STRAUSS, Die Fledermaus:

Overture 321. BRAHMS, Wie bist du meine

Königen, op. 32, no. 9 322. SCHUBERT, Mass in A Major:

Agnus Dei 323. BEETHOvEN, Trio, op. 11 324. RACHMANINOFF, Melodie, op.

3, no. 3 325. SCHUBERT, Symphony No. 8

(“Unfinished”)

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26) ninth chords Questions for AnalysisDominant Ninths 326. J. STRAUSS, Artist’s Life

Waltzes, op. 316, no. 3 327. FRANCK, Sonata for violin and

Piano 328. BEETHOvEN, Andante 329. CHOPIN, valse Brillante, op.

34, no. 1 330. SCHUMANN, Waldesgespräch,

op. 39, no. 3 331. CHOPIN, Prelude, op. 28, no. 15 Secondary Dominant Ninths 332. BACH, St. Matthew Passion, no. 78 333. SCHUMANN, Genoveva, op. 81:

Overture 334. GRIEG, Grandmother’s Minuet,

op. 68, no. 2 335. SCHUMANN, Kinderszenen,

op. 15, no. 7: Träumerei Nondominant Ninths 336. GRIEG, Wedding Day at

Troldhaugen, op. 65, no. 6 337. MENDELSSOHN, Midsummer

Night’s Dream, op. 21: Overture 338. FAURé, Après un Rêve

27) extended lineAr usAges Questions for AnalysisModel Analysis 339. CHOPIN, Mazurka, op. 6, no. 1 340. BRAHMS, “Der Tod, das ist die

kühle Nacht,” op. 96, no. 1 341. WEBER, Euryanthe: Overture 342. BRAHMS, variations on a

Theme by Handel, var. 20 343. FRANCK, Symphony in D Minor 344. WAGNER, Lohengrin, Act I,

scene 2 345. WAGNER, Wotan’s Farewell, Die

Walküre, Act III 346. CHOPIN, Prelude, op. 28, no. 9 347. BEETHOvEN, Quartet, op. 18,

no. 6 348. BACH, Ein’ feste Burg ist unser

Gott 336 349. BACH, Es ist genug, so nimm,

Herr 337

28) coMplete pieces For AnAlysis iii

Checklist for Analysis 350. MOZART, Minuet, K. 355 351. SCHUMANN, Myrthen, op. 25,

no. 24 352. MENDELSSOHN, Lieder ohne

Wörte, op. 30, no. 3 353. CHOPIN, Mazurka, op. posth.

67, no. 2 354. SCHUMANN, Phantasiestücke,

op. 12, no. 3: Warum? 355. GRIEG, Erotikon 356. LISZT, Il pensieroso, from

Années de Pèlerinage 357. R. STRAUSS, Morgen, op. 27,

no. 4 358. WAGNER, Der Engel 359. BEETHOvEN, Sieben

variationen: Über das volkslied: God Save the King

360. MOZART, Symphony No. 40, K. 550

361. BEACH, Phantoms

362. SCOTT JOPLIN, A Breeze from Alabama: March and Two-Step

* 363. Wagner, Prelude to Act I from Tristan und Isolde

364. MOZART, Sonata, K. 309 I. Allegro con spirito II. Andante, un poco AdagioIII. Allegretto grazioso* 365. Beethoven, Sonata, op. 2, no. 3

29) exAMples oF counterpoint Questions for Analysis366. BACH, Cantata No. 4: Sinfonia 338367. BACH, Chorale Prelude on “In

Dulci Jubilo” 339 368. BACH, Chorale Prelude on “Christ

lag in Todesbanden” 342 369. BRAHMS, Chorale Prelude on

“O Wie selig seid ihr doch, ihr Fommen” 343

370. PURCELL, “Thy hand Belinda,” from Dido and Aeneas 345

371. BACH, Invention No. 4, BWv 775 349

372. BACH, Invention No. 13, BWv 775 351

373. BACH, Sinfonia 3, BWv 789 352 374. BACH, The Well-Tempered

Clavier, vol. I, Fugue 2 354 375. BACH, The Well-Tempered

Clavier, vol. II, Fugue 9 357 376. MENDELSSOHN, Fugue No. 2,

op. 35

PART III: CONTEMPORARY MATERIALS Model Analysis

30) extended And Altered tertiAn hArMony

Questions for Analysis377. HANSON, Symphony No. 2, op. 30378. KABALEvSKY, Sonatina, op. 13379. HOvHANESS, Mysterious

Mountain 380. SHOSTAKOvICH, Prelude, op.

34, no. 24 381. DEBUSSY, Pelléas et Méllisande,

Act I, scene 1 382. SCRIABIN, Poem, op. 32, no. 2 383. RAvEL, valses Nobles et

Sentimentales 384. RODGERS, Slaughter on Tenth

Avenue 385. ELLINGTON, Prelude to a Kiss 386. DUKE JORDAN, Jordu 387. BERG, Four Songs, op. 2, no. 3 * 388. RAKSIN, Laura

31) diAtonic (church) Modes Questions for AnalysisModel Analysis389. BARTOK, Little Pieces for

Children, no. III 390. CHávEZ, Ten Preludes, no. 1 391. POULENC, valse 392. DEBUSSY, Trois Chansons, no. 1 393. KABALEvSKY, Toccatina 394. BRITTEN, Ceremony of Carols,

no. 8 395. DEBUSSY, Suite bergamasque,

Passepied 396. FLOYD, Susannah, Act II, scene 3 397. STRAvINSKY, Five Fingers: Lento

398. BARTOK, Fourteen Bagatelles, op. 6, no. 4

399. CASELLA, Siciliana 400. ADDERLEY, Work Song

32) pAndiAtonicisM And Additive hArMony

Questions for Analysis401. RAvEL, Mother Goose Suite: The

Magic Garden 402. MILHAUD, Touches Blanches 403. COWELL, The Irishman Dances 404. COPLAND, The Young Pioneers 405. BARBER, Excursions, III 406. STRAvINSKY, Petroushka, Danse

Russe 407. POULENC, Gloria, Laudamus te

33) exotic (ArtiFiciAl, synthetic) scAles

Questions for Analysis408. MILHAUD, Touches Noires 409. BARTOK, Mikrokosmos, no. 78:

Five Tone Scale 410. KODáLY, valsette 411. vAUGHAN WILLIAMS, London

Symphony 412. DEBUSSY, Préludes, II: voiles 413. BARTOK, Mikrokosmos, no. 136:

Whole Tone Scale 414. DEBUSSY, Pelléas et Mélisande,

Act II, scene 1 415. BARTOK, Fourteen Bagatelles, op.

6, no. 10 416. LUTOSLAWSKI, Bucolic, no. 3 417. BARTOK, Mikrokosmos, no. 101:

Diminished Fifth 418. BARTOK, Sketches, op. 9, no. 6 419. BARTOK, Fourteen Bagatelles, op.

6, no. 6

34) quArtAl And secundAl hArMony

Questions for Analysis420. HINDEMITH, Mathis der Maler:

Grablegung 421. IVES, Majority 422. KRENEK, Piano Piece, op. 39,

no. 5 423. HINDEMITH, Ludus Tonalis,

Fuga secunda in G 424. BARTOK, Concerto for Orchestra 425. BERG, Wozzeck, Act II 426. BARTOK, Mikrokosmos, no. 107:

Melody in the Mist 427. BERG, Wozzeck, Act II 428. COWELL, Tiger 429. IVES, Majority 430. BRUBECK, Blue Rondo à la Turk

35) polyhArMony And polytonAlity

Questions for Analysis431. HONEGGER, Symphony No. 5 432. SCHUMAN, A Three-Score Set, II 433. KRAFT, Allegro Giocoso 434. STRAvINSKY, The Rake’s

Progress: Prelude 435. STRAvINSKY, Petroushka,

Scene 2 436. MILHAUD, Saudades do Brazil,

no 7: Corcovado 437. BARTOK, Forty-Four violin

Duets, no. 33 438. BRUBECK, Strange Meadowlark

36) Free AtonAlity Questions for Analysis439. SCHÖNBERG, Drei

Klavierstücke, op. 11, no. 1 440. SCHÖNBERG, Klavierstücke, op.

19, no. 2 441. SCHÖNBERG, Pierrot Lunaire,

op. 21, no. 1: Mondestrunken 442. WEBERN, Five Movements for

String Quartet, op. 5, no. 4 443. BARTOK, Mikrokosmos, no. 144:

Minor Seconds, Major Sevenths 444. BARTOK, Fourth String Quartet 445. BERGER, Two Episodes, I

37) twelve-tone seriAlisM Questions for AnalysisModel Analysis446. KRENEK, Dancing Toys, op. 83,

no. 1 447. SCHÖNBERG, Suite für Klavier,

op. 25: Gavotte 448. DALLAPICCOLA, Cinque

Frammenti di Saffo 449. WEBERN, Drei Lieder, op. 25,

no. 1

38) Music since 1945 Questions for Analysis450. STOCKHAUSEN, Klavierstücke,

no. 2 451. LUTOSLAWSKI, String Quartet

(1965) 452. PENDERECKI, String Quartet,

no. 2 453. CRUMB, Madrigals, Book Iv 454. DRUCKMAN, valentine, for solo

contrabass 455. ROUSE, valentine 456. HORNE, Six Short Studies,

Sixteenth Notes

39) coMplete pieces For AnAlysis iv

Suggestion for Analysis 457. RAvEL, Sonatine, Mouvt II 458. DEBUSSY, Pour le Piano:

Sarabande 459. DEBUSSY, Préludes, X: La

Cathédrale engloutie 460. MILHAUD, Saudades do Brazil,

no. 6: Gavea 461. PROKOFIEv, Classical Symphony,

op. 25 462. PROKOFIEv, March from The

Love of Three Oranges 463. HINDEMITH, Ludus Tonalis,

Fuga undecima in B (Canon) 464. RUGGLES, Evocations, no. 1 465. SCHÖNBERG, Suite für Klavier,

op. 25: Menuett 466. PORTER, Night and Day 467. GERSHWIN, Porgy and Bess,

“Summertime” 468. STRAvINSKY, Sonata for Two

Pianos, II: Theme with variations 469. HINDEMITH, Piano Sonata,

no. 2 470. MACMILLAN, Piano Sonata, I Appendix A. Checklist for Analysis and

Sample Analysis Appendix B. For Further Reference Appendix C. Textbook Correlation ChartIndex of Composers and Their

Compositions Index of Complete Pieces

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An introduction to class piano that is systematic, creative, and includes the widest ranging repertoire of solo and ensemble pieces

Contemporary Class Piano Sixth Edition Enhanced

ELYSE MACH, Northeastern Il linois Universit y

FREE TO INSTRUCTORS UPON ADOPTION

In addition to the set of four MIDI disks

(978-0-19-534309-0)—con-taining almost 200 orches-tration accompaniments prepared by renowned com-poser Phillip Keveren—a new MIDI disk with ac-companiments for twenty-eight of the additional pieces in the enhanced edition has been created by composer James Nyberg.

UNIT 1. KEYBOARD BASICS

Keyboard PostureFinger NumbersBasic Note valuesThe KeyboardThe Major Five-Finger

PatternDynamicsReading NotesIntervalsKeeping TimeSlur and Phrase MarkingsKey SignatureTranspositionEighth Notes and Eighth

RestsDrone BassRepertoireImprovisationHarmonizationSightreading StudiesTechnical StudiesRhythmic StudiesEnsemble PiecesWorksheet ReviewreAding

Keveren, A Jazz WaltzBeethoven, Shepherd’s Song

(“Pastoral” from Symphony No. 6 )

Classic Miniatures: Gurlitt, The Contest, op. 136, no. 3

Beyer, Two Étudesrepertoire

Bártok, Melody (no. 1 from First Term at the Piano)

enseMble pieces

Wohlfahrt, Waltz, op. 87, no. 39 (from The Children’s Musical Friend)

Mach, Ancient Chinese BellsUNIT 2. THE FIvE-FINGER PATTERN

Playing in Different RegistersTempo MarkingsMore Dynamic MarkingsDotted Quarter NotesAccidentalsSlursParallel Motion68 TimeIdentifying Flat Key

SignaturesChange of DynamicsContrary MotionMajor TriadsFive-Finger Studies and

Triads in MajorThe Minor Five-Finger

PatternMinor Triads

Five-Finger Studies and Triads in Major and Minor

More Tempo MarkingsPieces Using Major and

Minor TriadsThe Dominant Seventh

ChordBlock-Chord Accompani-

ments with I and v65

Music Chord SymbolsFive-Finger Melodies with

Letter-Name Chord Symbols for I and v6

5 Chord Accompaniments

The Subdominant ChordCadencesThe Circle of Fifths and

Major Key SignaturesPieces with I–Iv6

4–v65

AccompanimentsFive-Finger Melodies with

Letter-Name Chord Symbols for I, Iv6

4, and v65

Chord AccompanimentsChanging Five-Finger

PositionsRepertoireImprovisationCreative Music and

HarmonizationSightreading StudiesRhythmic StudiesTechnical StudiesEnsemble Pieces

Worksheet ReviewreAding

Mach, SaharaMach, Shoestring BoogieClassic Miniatures: Reinagle,

MinuetBeyer, Étude in A Minor, op.

101, no. 60repertoire

Beyer, Étude in DenseMble pieces

Diabelli, Scherzo, op. 149, no. 6 (from Melodious Pieces)

UNIT 3. PIECES WITH EASY ACCOMPANIMENTS

Major ScalesMajor Scales in Tetrachord

PositionMajor Scales with Fingerings

for Both Hands TogetherScale Studies in ClustersTriads on Major-Scale

DegreesIntervals of a Sixth, Seventh,

and Eighth (Octave)Extending the Five-Finger

PositionSixteenth Notes and

Sixteenth RestsThe Dotted Eighth NoteMusical Forms: AB and ABA

c o n t e n t s

A wide selection of material that • accommodates a variety of indi-vidual teaching goals and key-board requirements “Practice Strategies” boxes provide • beginners with helpful hints

Introduces examples early on that • allow students to play with both hands and gain confidence in their ability Provides an abundance of creative • pieces to play

Includes thirty-five new reading, • repertoire, and ensemble pieces in various styles and levels of dif-ficulty

Introduces a new “Classic Min-• iatures” section that features ex-cerpts of original keyboard pieces written by master composers

Highly acclaimed for its creative approach to beginning piano, Contemporary Class Piano presents materials in an engaging manner and in a logical progression of difficulty. Easily accessible to students with no prior music or

keyboard experience, the book offers a well-rounded and abundant solo and ensemble repertoire—including classi-cal pieces and folk, jazz, rock, pop, and blues tunes—with ample opportunities for students to improvise, transpose, harmonize, and compose accompaniments.

F E A T U R E S

S u p p o r t P a c k a g e

Contains a • free in-text audio CD with each book that has original orchestrations written by composer Jason Nyberg for twenty-eight of the new pieces for students to use on their own.

An • Instructor’s Man-ual with suggested les-son plans and teaching tips for the first semes-ter of study—available at www.oup.com/us/classpiano.

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Melodies with Letter-Name Chord Symbols for I, Iv6

4, and v6

5 ChordsBroken-Chord

Accompaniment PatternsArpeggio Accompaniment

PatternsSyncopationThe Damper PedalOther Accompaniment

PatternsSecondary ChordsIntervals Within the ScaleMelodic Lines with IntervalsChord InversionsThe Damper Pedal (Indirect

Pedaling)Hymn StyleAugmented and Diminished

TriadsRepertoireImprovisationCreative Music and

HarmonizationSightreading StudiesRhythmic StudiesTechnical StudiesEnsemble PiecesWorksheet ReviewreAding

Gurlitt, Moving AlongMach, Apple Street RagClassic Miniatures: Kuhlau,

Scotch DanceTürk, Teasingrepertoire

Mach, Perpetual MotionOesten, Hunting HornsenseMble pieces

Au Clair de la LuneHoward, Hello, Ma’ Baby

UNIT 4. TONALITY AND ATONALITY

Minor ScalesMinor Key SignaturesNatural Minor Scales in

Tetrachord PositionsHarmonic Minor Scalesi–iv6

4–i–v65–i Chord

ProgressionParallel Major and Minor

ScalesOther Scale Forms (Modes)The Chromatic ScaleJazzPandiatonicismThe Whole-Tone ScaleBitonalityAtonalityInnovative NotationsQuartal HarmonyRepertoireBitonal ImprovisationSightreading StudiesEnsemble PiecesWorksheet ReviewreAding

Dark EyesClassic Miniatures: Köhler,

Étude, op. 190, no. 31Rousseau, The Village Prophetrepertoire

Salutrinskaya, Shepherd PipesenseMble pieces

Tchaikovsky, Sugar Plum Fairy Dance (from The Nutcracker Suite)

Wells, GallopUNIT 5. LETTER-NAME CHORD SYMBOLS

Letter Names of I, Iv, and v7 Chords

Melodies with Letter-Name Chord Symbols

Famous Themes

Strumming AccompanimentsArpeggio AccompanimentsMajor and Minor Seventh

ChordsLetter-Name Chord ChartEnsemble PiecesMelodies to

hArMonize

Dona Nobis PacemHush Little BabyOffenbach, O Mon Cher

Amant (from Perichole)Two GuitarsDanube WaveMozart, Theme from

Symphony No. 40, K. 550UNIT 6. THIRTY-ONE PIANO CLASSICS

1. Rameau, Tambourin2. Schein, Allemande3. Corelli, Sarabande4. Krieger, Minuet in A Minor5. Witthauer, Gavotte6. Telemann, Gigue7. Mozart, L., Burleske (from

Notebook for Wolfgang)8. Haydn, Gypsy Dance (Trio)9. Bach/Ricci, Risoluto10. Mozart, W.A., Minuet

in C11. Beethoven, German

Dance12. Schumann, Melody (from

43 Piano Pieces for the Young, Op. 68)

13. Rebikoff, The Bear14. Bartók, Springtime Song

(No. 2 from For Children, vol. 1)

15. Kadosa, Homage to Bartók16. Kabalevsky, A Conversa-

tion (Op. 39, No. 7)17. Hovhaness, Moon Dance

(No. 2 from Mountain Idylls)

18. Starer, Evens and Odds19. Gillock, Autumn Is Here20. Hartsell, Moonlit Shores21. Mier, Sneaky Business22. Tingley, Dreamscape23. Tingley, Early Spring24. Miller, Festive Dance25. Rameau, Rondino26. Beethoven, Russian

Folksong27. Gurlitt, Night Journey28. Tchaikovsky, Italian Song29. Schytte, Étude in D Major30. Tansman, Au Jardin (To

the Garden)31. Olson, Razz-Ma-TazzAPPENDIX A. SCORE

READING

Three-Part TextureFour-Part TextureAPPENDIX B. MAJOR

AND HARMONIC MINOR SCALES IN TWO OCTAvES

Major Scales in Two OctavesHarmonic Minor Scales in

Two OctavesAPPENDIX C. THREE

PATRIOTIC SONG ARRANGEMENTS

1. Carey, America2. Bates/Ward, America the

Beautiful3. Key/Smith, The Star-

Spangled BannerAPPENDIX D.

PERFORMANCE TERMS AND SYMBOLS

Title IndexComposer IndexSubject Index

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Beyond TalentCreating a Successful Career in MusicANGELA MY LES BEECHING, New England Conservatory

Ideal for professional development courses for musicians that guide students in designing and planning a career, Beyond Talent is the most comprehensive music career guide available. veteran music career counselor Angela

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Music, Thought, and FeelingUnderstanding the Psychology of MusicWILLIAM FORDE THOMPSON, Macquarie Universit y

PrefaceChapter 1: IntroductionChapter 2: Origins of MusicChapter 3: Musical Building BlocksChapter 4: Music AcquisitionChapter 5: Perceiving Music StructureChapter 6: Music and Emotion

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Part XI: Raising Money for Music Projects

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Bailey, Wayne, 11

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Beyond Talent: Creating a Successful Career in Music, 38

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Classical Form, 24

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Conway, Colleen, 16

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Critical Issues in Music Education, 13

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Directing the Choral Music Program, 12

Douglas, Gavin, 8

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Ely, Mark C., 15

Engaging Music: Essays in Music Analysis, 24

Exploring Research in Music Education and Music Therapy, 14

From Sound to Symbol: Fundamentals of Music, 25

Gagné, David, 27

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Gold, Lisa, 9

Graduate Review of Tonal Theory, 28

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Music in America, 9

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Music in Words, 22

Music of the Baroque, Second Edition, 17

Music of the Baroque: An Anthology of Scores, Second Edition, 17

Music Research, 22

Music, Thought, and Feeling: Understanding the Psychology of Music, 38

Native American Music in Eastern North America, 8

Nelson, Robert, 32

Neumeyer, David, 20

Opera, 21

Phillips, Kenneth H., 11, 12, 14

Pop, Rock, and Soul Reader, The, Second Edition, 6

Progressive Sight Singing, 26

Regelski, Thomas A., 12

Reyes, Adelaida, 9

Rice, Timothy, 9

Rodman, Ron, 20

Ruckert, George E., 9

Sampsel, Laurie, 22

Schubert, Peter, 23

Schulenberg, David, 17

Scott, Stanley, 9

Seaton, Douglass, 18

Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology, Second Edition, 9

Sheehy, Daniel, 8

Starr, Larry, 2, 4

Stein, Deborah, 24

Stone, Ruth M., 9

Strategies for Teaching Strings, Second Edition, 15

Student Workbook to Accompany The Complete Musician, Second Edition, Volume 1, 30

Student Workbook to Accompany The Complete Musician, Second Edition, Volume 2, 30

Student Workbook to Accompany Analysis of Tonal Music: A Schenkerian Approach, Second Edition, 27

Student Workbook to Accompany Graduate Review of Tonal Theory, 29

Tacka, Philip, 25

Teaching General Music in Grades 4–8, 12

Teaching Music Globally, 10

Teaching Music in Higher Education, 16

Thinking Musically, Second Edition, 10

Thompson, William Forde, 38

Tuning In: American Narrative Television Music, 20

Turino, Thomas, 8

Van Deuren, Amy E., 15

Viswanathan, T., 9

Wade, Bonnie C., 8, 10

Wald, Elijah, 6

Walser, Robert, 21

Waterman, Christopher, 2, 4

Weiss, Piero, 21

Wind Talk for Brass, 15

Wind Talk for Woodwinds, 15

Ideas and Styles in the Western Musical TraditionThird Edition

Douglass Seaton

A “-FREE” book oF Music history: ANTHOLOGY-FREE, LIST-FREE, AND CLUTTER-FREE

This accessible and brief music history text explores the conceptual frameworks that have shaped musical development from antiquity to the present, both in expressive content and in practice.

Turn to page 18 to learn more!

new to the third edition:• Includes the most current historiography

• Clarifies the interconnections and divisions between musical periods

• Offers an updated and comprehensive timeline

• Expands the final chapter with additional recent works and more reflection on postmodernism

• Features a unique anthology-free design that allows instructors the flexibility to choose their own musi-cal examples

A brand new coMpAnion website (www.oup.coM/us/seAton) oFFers:• Correlation guides to several leading score

anthologies

• Questions for Study and Reflection for each chapter

• Two additional appendices to the text: “Research and Writing in Music History” and “Pronouncing Church Latin”

• Study aids, teaching tips, chapter synopses, review and quiz materials, and listening recommendations

October 2009 544 pp. cloth APS SEAIS3 978-0-19-537988-4 $59.95



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