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Tonality and Design in Music Theory, Volume 2by Earl Henry
Synopses & Reviews
In two volumes, Tonality and Design in Music Theory is a text package devised for students and teachers at a wide range of colleges and universities. The book follows a comprehensive musicianship approach in integrating studies of traditional Western melody, harmony, and rhythm with an introduction to form, a review of fundamentals, and several chapters devoted to music of the twentieth and twenty-first centuries.
This is a carefully paced book that will foster student success in college-level music study. The text discussions are clear and informal with helpful diagrams, charts, and sample analyses. In addition, students will find a wealth of supplementary information (related topics, composer dates, and biographical sketches, for example) throughout both volumes. Numerous drill exercises and self tests (with answers) help ensure comprehension and steady progress. Creative projects accompany each chapter and center on analyses, composition (often with detailed instructions and examples), and suggested research projects dealing with folk and popular music, historical studies, and many other topics.
Other distinctive features of Tonality and Design include:
Following the well-established tradition of comprehensive musicianship, this book presents lessons and assignments not only in basic tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, written essays, and a survey of 20th and 21st century music. It emphasizes Western musical art, with ample material on the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works. For individuals who want to perform as studio musicians, enter the field of music education, follow an applied teaching career, or pursue graduate studies.
Table of Contents
I. FORM AND TECHNIQUE.
1. Variation Forms.
2. Canon and Fugue.
3. Borrowed and Augmented Sixth Chords.
4. Neapolitan and Other Chromatic Resources.
III. GRAND FORMS.
5. Sonata Form.
6. The Rondo.
IV. TONAL MUSIC IN TRANSITION.
7. The Dissolution of the Common-Practice Style.
9. National and Ethnic Resources.
V. THE CONTEMPORARY ERA.
11. Serial Composition.
12. Music After 1950.
Appendix A. Answers to Self Tests.
Appendix B. Tuning and Temperament.
Appendix C. Instrument Ranges and Transposition.
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