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Anthology for Musical Analysis

Anthology for Musical Analysis Cover

 

Synopses & Reviews

Publisher Comments:

This landmark collection of over 200 complete musical compositions and movements, ranging in time from the Middle Ages to the present, contains a large and varied body of music for study. In addition to providing ample material for both a full-year course in the analysis of musical forms and a one-semester course in twentieth-century techniques, the book offers first- and second-year music theory classes a wealth of illustrations of chords, voice-leading techniques, and forms--plus some material for figured-bass realization and score reading. Because the book consists primarily of music and takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.

Book News Annotation:

This collection of 208 complete musical pieces composed during the medieval, renaissance, baroque, classical, romantic, and modern periods provides undergraduate theory and analysis classes with a large and varied body of music for study. The sixth edition adds 23 pieces including five by women. Spiral binding. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com)

Synopsis:

This landmark collection of over 200 complete musical compositions and movements, ranging in time from the Middle Ages to the present, contains a large and varied body of music for study. In addition to providing ample material for both a full-year course in the analysis of musical forms and a one-semester course in twentieth-century techniques, the book offers first- and second-year music theory classes a wealth of illustrations of chords, voice-leading techniques, and forms--plus some material for figured-bass realization and score reading. Because the book consists primarily of music and takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.

About the Author

Charles Burkhart, internationally recognized scholar in Schenkerian analysis; pianist; author, ANTHOLOGY FOR MUSICAL ANALYSIS; co-author, A NEW APPROACH TO KEYBOARD HARMONY; articles and reviews in THE MUSIC REVIEW, PERSPECTIVES OF NEW MUSIC, JOURNAL OF MUSIC THEORY, and THE MUSIC FORUM.William Rothstein, author of PHRASE RHYTHM IN TONAL MUSIC, joins Charles Burkhart as co-author. Dr. Rothstein is a professor of Theory/Analysis at Queens College and the Graduate Center. In addition to his book, PHRASE RHYTHM IN TONAL MUSIC, which received an ASCAP-Deems Taylor Award and the Society for Music Theory's Young Scholar Award, Dr. Rothstein has published numerous articles.

Table of Contents

Part 1: MEDIEVAL AND RENAISSANCE COMPOSITION. Introduction. Examples of Plainchant--Kyrie from Mass XIII; Tone for the Benedicamus Domino; Hymn to St. John the Baptist; Hymn for Lauds, December 25; Antiphon for Vespers, 3rd Sunday of Advent; Gloria Patri for the Introit of the Mass. Hildegard of Bingen--Excerpts from Ordo Virtutum (morality play). Guillaume de Machaut--De bon espoir--Puisque la douce rosee--Speravi (isorhythmic motet). Guillaume Dufay--Communio from Missa Sancti Jacobi (fauxbourdon). Josquin Desprez--Tu pauperum refugium (motet); Baises moy (double canon). Giovanni Pierluigi da Palestrina--Sanctus and Benedictus from Missa Aeterna Christi Munera. Roland de Lassus--Three Duos: 2-Beatus homo; 5-Expectatio justorum; 12-Sicut rosa. Examples of Stock Basses (late sixteenth century)--Claude Gervaise, Pavane Passamaize; Jacomo Gorzanis, Passamezzo and Saltarello (dance pair); Greensleeves. Thomas Morley--Now is the Month of Maying (ballet). Carlo Gesualdo--Moro lasso al mio duolo (madrigal). Part 2: BAROQUE COMPOSITIONS. Introduction. Claudio Monteverdi--Lasciatemi morire (madrigal). Arcangelo Corelli--Adagio and Allegro from Violin Sonata, Op. 5, No. 1; Allemanda from Trio Sonata, Op. 4, No. 11. Henry Purcell--Didos Lament from Dido and Aeneas. Elisabeth Jacquet de La Guerre--Prelude from Suite II of Pièces de Clavecin. François Couperin--Les Moissonneurs from Pièces de Clavecin, Ordre VI. Notebook for Anna Magdalena Bach--Four Pieces: March, Minuet, Aria, Polonaise. George Frideric Handel--Concerto Grosso in B minor, Op. 6, No. 12 (in score): Largo, Allegro; Air from Suite No. 5 in E major (variations); Chorus: "Wretched Lovers" from Acis and Galatea; Recitative: "Thy rebuke hath broken his heart" from Messiah; Aria: "Whereer you walk" from Semele. Johann Sebastian Bach--Gavottes I and II from English Suite No. 3 in G minor; Minuets I and II from Suite No. 1 in G major for Violoncello Solo; Chaconne from Partita No. 2 in D minor for Violin Solo; Two Inventions: No. 4 in D minor, No. 12 in A major; Preludes and Fugues from The Well-Tempered Clavier from Book I: Prelude 1 in C major, Fugue 11 in F major, Fugue 16 in G minor, Fugue 21 in B flat major; from Book II: Prelude and Fugue 9 in E major (with the Fugue in E major of J.K.F. Fischer, ca. 1665-1746); Contrapunctus VII from The Art of the Fugue; Four Canons from The Musical Offering; Crucifixus from Mass in B minor; O Gott, du frommer Gott (chorale variation); Two Chorale Preludes: Wenn wir in höchsten Nöten sein, Vor deinen Tron tret ich hiermit. Domenico Scarlatti--Sonata in D major, K. 96 (Longo 465). Part 3: CLASSICAL COMPOSITIONS. Introduction. Joseph Haydn--Piano Sonata No. 36 in C sharp minor, first movement; Piano Sonata No. 37 in D major, third movement; String Quartet in G minor, Op. 74, No. 3, second movement; Symphony No. 101 in D major, third and fourth movement (in score). Muzio Clementi--Sonatina in G major, Op. 36, No.2, first movement. Wolfgang Amadeus Mozart--Divertimento No. 14 for wind sextet, K. 270, second movement; Theme with Variations from Piano Sonata in D major, K. 284; Piano Sonata in B flat major, K. 333: Allegro, Andante cantabile, Allegretto grazioso; Fantasia in C minor, K. 475; The Bird-Catchers Song from The Magic Flute, K. 620; Clarinet Concerto in A major, K. 622, first movement (in score). Ludwig van Beethoven--Piano Sonata No. 1 in F minor, Op. 2, No. 1, first movement; Piano Sonata No. 4 in E flat major, Op. 7, second movement; Piano Sonata No. 5 in C minor, Op. 10, No. 1, second movement; Piano Sonata No. 8 in C minor, Op. 13 ("Pathetique"): Grave, Allegro di molto e con brio, Adagio cantabile, Allegro; Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement; Sonata for Violin and Piano ("Spring"), Op. 24, first movement; Piano Sonata No. 15 in D major, Op. 28, third movement; Piano Sonata No. 21 in C major ("Waldstein"), Op. 53, first movement; String Quartet in E minor, Op. 59, No. 2, first movement; String Quartet No. 13 in B flat major, Op. 130, second movement. Part 4: ROMANTIC COMPOSITIONS. Introduction. Carl Friedrich Zelter--"Der König in Thule". Franz Schubert--Three Lieder: "Nähe des Geliebten", "Der Doppelgänger" from Schwanengesang, "Erlkönig"; Two Piano Pieces: Waltz in A flat major, Op. 9, No. 2, Moment Musical in A flat major, Op. 94, No. 6. Fanny Mendelssohn Hensel--"O Herbst" (a cappella chorus). Felix Mendelssohn--Song Without Words, Op. 19b, No.1. Robert Schumann--Seven Pieces from Album for the Young, Op. 68: 1-Melody, 3-Humming Song, 6-Poor Orphan Child, 8-Wild Rider, 14-Little Etude, 17-Little Morning Wanderer, 31-War Song; Vogel als Prophet from Waldszenen, Op. 82; "Er, der herrlichste von allen" from Frauenliebe und -leben, Op. 42. Frederic Chopin--Five Preludes from Op. 28: No. 1 in C major, No. 4 in E minor, No. 6 in B minor, No. 9 in E major, No. 19 in E flat major, No. 20 in C minor; Four Mazurkas: No. 5 in B flat major, Op. 7, No. 1; No. 6 in A minor, Op. 7, No. 2; No. 37 in A flat major, Op. 59, No. 2; No. 49 in F minor, Op. posth. 68, No. 4; Nocturne in D flat major, Op. 27, No. 2. Richard Wagner--Prelude to Act I from Tristan und Isolde. Clara Schumann--Andante espressivo from Quatre Pièces fugitives, Op. 15. Cesar Franck--Moderato from Chorale No. 1 in E major for organ. Johannes Brahms--Variations on a Theme of Robert Schumann, Op. 9 (excerpt); "Wie Melodien zieht er mir," Op. 105, No. 1; Three Intermezzos: Intermezzo in A minor, Op. 76, No. 7; Intermezzo in A major, Op. 118, No. 2; Intermezzo in C major, Op. 119, No. 3; Sonata in F minor for Clarinet and Piano, Op. 120, No. 1, first movement. Hugo Wolf--Two Songs: "Das verlassene Mägdlein", "In der Frühe". Gustav Mahler--Adagietto from Symphony No. 5 (score). Amy Beach--"Dark is the Night," from Three Songs, Op. 11. Part 5: SINCE DEBUSSY. Introduction. Claude Debussy--Prelude a "LAprès-midi dun faune"; La cathedrale engloutie, from Preludes, Book I. Arnold Schoenberg--No. 1 of Three Piano Pieces, Op. 11: Summer Morning by a Lake (Colors); No. 3 of Five Pieces for Orchestra, Op. 16: Piano Piece, Op. 33a. Charles Ives--Two Songs: "The Cage"; "General William Booth Enters into Heaven" (with the hymn "Cleansing Fountain"). Maurice Ravel--"Le Martin-Pêcheur" from Histoires Naturelles. Bela Bartok--Three Pieces from Mikrokosmos: Bulgarian Rhythm, Syncopation, Diminished Fifth; Music for String Instruments, Percussion, and Celesta; first movement (score). Igor Stravinsky--Le sacre du printemps, Introduction to Part II; Theme and Variations A, B, and C from Octet for Wind Instruments, second movement; "Full Fadom Five" from Three Songs from William Shakespeare; Pas-de-Quatre and Coda from Agon. Anton Webern--Five Movements for String Quartet, Op. 5, fourth movement; "Wie bin ich froh!" from Drei Lieder, Op. 25; Variations for Piano, Op. 27, second movement. Alban Berg--"Schlafend trägt man mich" from Vier Lieder, Op. 2. Paul Hindemith--"A Swan" from Six Chansons; Fuga prima in C from Ludus Tonalis. Ernst Krenek--Suite for Violoncello Solo, Op. 84, first movement. Ruth Crawford Seeger--String Quartet 1931, third movement. Luigi Dallapiccola--Simbolo, No. 1 from Quaderno Musicale di Annalibera. Olivier Messiaen--Liturgie de cristal, No. 1 from Quatuor pour la fin du temps. Elliott Carter--Canaries from Eight Pieces for Four Timpani. William Schuman--Three-Score Set, second movement. John Cage--For Paul Taylor and Anita Dencks. Milton Babbitt--"Play on Notes" for childrens voices and bells; Semi-Simple Variations. György Ligeti--No. 1 of Ten Pieces for Wind Quartet. George Crumb--"¿Por que naci entre espejos? from Madrigals, Book IV. Toru Takemitsu--Autumn from Rocking Mirror Daybreak for violin duo. Terry Riley--In C. Steve Reich--Clapping Music. Bruce Saylor--"Psalm 13" from Four Psalm Settings. John Adams--"This is Prophetic" from Nixon in China. Appendix A: Two Jazz Forms: Blues and Rhythm Changes. Appendix B: Mostly Chorale Harmonizations.

Product Details

ISBN:
9780155062184
Manufactured:
HBJ College &. School Division
Publisher:
Cengage Learning
Manufactured:
HBJ College &. School Division
Author:
Rothstein, William
Author:
46
Author:
Burkhart, Charles (Charles Burkhart)
Author:
Burkhart, Charles
Location:
Belmont, CA
Subject:
General
Subject:
Reference
Subject:
Theory
Subject:
Musical analysis
Subject:
Music appreciation
Subject:
Instruction & Study - Theory
Subject:
General Music
Copyright:
Edition Number:
6
Edition Description:
Includes bibliographical references (p. 583).
Series Volume:
3052
Publication Date:
August 2003
Binding:
Hardback
Grade Level:
College/higher education:
Language:
English
Illustrations:
Y
Pages:
624
Dimensions:
| x | in 46 oz

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Anthology for Musical Analysis
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Product details 624 pages Wadsworth Publishing Company - English 9780155062184 Reviews:
"Synopsis" by , This landmark collection of over 200 complete musical compositions and movements, ranging in time from the Middle Ages to the present, contains a large and varied body of music for study. In addition to providing ample material for both a full-year course in the analysis of musical forms and a one-semester course in twentieth-century techniques, the book offers first- and second-year music theory classes a wealth of illustrations of chords, voice-leading techniques, and forms--plus some material for figured-bass realization and score reading. Because the book consists primarily of music and takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.
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