Miguel Roig-Francoli
McGraw-Hill Education
3e druk, 2019
9781260566505
ISE Harmony in Context
Specificaties
Paperback, blz.
|
Engels
McGraw-Hill Education |
3e druk, 2019
ISBN13: 9781260566505
Rubricering
Levertijd ongeveer 10 werkdagen
Samenvatting
Music Theory Made Relevant
Designed for undergraduate music majors, Harmony in Context provides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and anthology encompass a wide variety of different composers and repertoires. A clear and visually attractive layout, as well as the use of section and subsection headings and lists where appropriate, are essential aspects that contribute to the effective organization of this book. Recordings for all the musical examples from the literature included in both the book and the anthology are available on the book's Online Learning Center.
Specificaties
Inhoudsopgave
Preface<br/>A Message to the Student: Why Do We Study Music Theory?<br/><br><br/>Introduction: The Fundamentals of Music<br/>Chapter A<span> </span>Pitch: Notation and Intervals<br/>Chapter B<span> </span>Rhythm and Meter<br/>Chapter C<span> </span>Tonality: Scales and Keys<br/>Chapter D<span> </span>The Rudiments of Harmony I: Triads and Seventh Chords<br/>Chapter E<span> </span>The Rudiments of Harmony II: Labeling Chords. Musical Texture<br/>Chapter F<span> </span>Introduction to Species Counterpoint<br/><br><br/>Part I: Diatonic Harmony<br/>Chapter 1 <span> </span>Harmonic Progression. The Connection of Chords<br/>Chapter 2<span> </span>The Fundamental Progression: The Tonic and Dominant Triads in Root Position. <br/>Chapter 3<span> </span>Harmonic Function; the Subdominant Triad in Root Position<br/>Chapter 4 <span> </span>Triads in First Inversion<br/>Chapter 5<span> </span>The Supertonic: Melody Harmonization<br/>Chapter 6 <span> </span>Nonchord Tones<br/>Chapter 7<span> </span>6/4 Chords<br/>Chapter 8<span> </span>The Dominant Seventh and Its Inversions<br/>Chapter 9<span> </span>The Leading-Tone Triad<br/>Chapter 10 <span> </span>Cadences<br/>Chapter 11 <span> </span>Building the Context for Harmony I: Phrase Structure<br/>Chapter 12 <span> </span>Building the Context for Harmony II: Thematic Development<br/>Chapter 13 <span> </span>Harmonic Rhythm; Metric Reduction<br/>Chapter 14 <span> </span>The Mediant, Submediant, and Subtonic Triads<br/>Chapter 15 <span> </span>Other Diatonic Seventh Chords<br/>Chapter 16 <span> </span>Harmonic Sequences<br/><br><br/>Part II: Chromatic Harmony and Form<br/>Chapter 17 <span> </span>Tonicization I<br/>Chapter 18 <span> </span>Tonicization II<br/>Chapter 19 <span> </span>Tonicization III: Secondary Leading-Tone Chords<br/>Chapter 20 <span> </span>Modulation to Closely-Related Keys<br/>Chapter 21 <span> </span>Small Forms: Binary and Ternary; Variation Forms<br/>Chapter 22 <span> </span>Contrapuntal Genres: Invention and Fugue<br/>Chapter 23 <span> </span>Modal Mixture<br/>Chapter 24 <span> </span>The Neapolitan Chord<br/>Chapter 25 <span> </span>Augmented Sixth Chords<br/>Chapter 26 <span> </span>Chromatic Modulatory Techniques:Modulation to Distantly Related Keys I<br/>Chapter 27 <span> </span>Modulation to Distantly-Related Keys II; Linear Chromaticism I<br/>Chapter 28 <span> </span>Introduction to Large Forms<br/>Chapter 29 <span> </span>Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II;<br/>Chapter 30 <span> </span>The German Romantic Lied: Chromatic Harmony in Context<br/>Chapter 31 <span> </span>Toward (and Beyond) the Limits of Functional Tonality<br/><br><br/>Appendix: Transposing Instruments<br/><br><br/>Musical Example Index<br/>Subject Index<br/>