Building on the same pedagogy that informed The Complete Musician, this Graduate Review of Tonal Theory is the first book to review music theory at a level that is sophisticated enough for beginning graduate students. Steven G. Laitz and Christopher Bartlette address students as colleagues, and thoroughly explore appealing and practical analytical applications. The text also provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. Marked by clarity and brevity, Graduate Review of Tonal Theory presents crucial concepts and procedures found in the majority of tonal pieces. A workbook for students (978-0-19-537699-9) that can be packaged with the text at a significant savings! (Package ISBN: 978-0-19-538628-8) This invaluable resource is organized by chapter into discrete assignments (3-5 per chapter), each progressing from short, introductory analytical and writing exercises tomore involved tasks. The workbook also includes an appendix of keyboard exercises.

This is the eBook of the printed book and may not include any media, website access codes, or print supplements that may come packaged with the bound book. For undergraduate/graduate-level courses in Twentieth-Century Techniques, and Post-Tonal Theory and Analysis taken by music majors. A primer–rather than a survey–this text offers exceptionally clear, simple explanations of basic theoretical concepts for the post-tonal music of the twentieth century. Emphasizing hands-on contact with the music–through playing, singing, listening, and analyzing–it provides six chapters on theory, each illustrated with musical examples and fully worked-out analyses, all drawn largely from the “classical” pre-war repertoire by Schoenberg, Stravinsky, Bartok, Berg, and Webern. "Straus takes a paced, methodical, logical approach to each topic. He introduces it in context and — perhaps most significantly of all — uses language that's so transparent that merely to follow his descriptions, explanations and illustrations carefully is to understand each aspect of the theory under consideration." Mark Sealey, Classical.net

Beginning with music fundamentals, The Complete Musician covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. Rather than rote learning of concepts and memorizing terms, The Complete Musician emphasizes how theory informs the work of performers. Composers respond not only to their instincts, experiences, and training in every work they write; they also follow certain ideals and models when appropriate, and modify them to fit their own personal vision. Theory is not a "theoretical" activity; it is a living one that responds to how music is composed and performed. Understanding how theory intersects with composition and performance is key to seeing its relevance to students' wider musical lives. The Complete Musician makes this connection.

Now in trade paperback: “The definitive guide to musical enjoyment” (Forum). In this fascinating analysis of how to listen to both contemporary and classical music analytically, eminent American composer Aaron Copland offers provocative suggestions that will bring readers a deeper appreciation of the most viscerally rewarding of all art forms.

Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.

Written by master teachers Poundie Burstein and Joe Straus, the workbook that accompanies Concise Introduction to Tonal Harmony, Second Edition, provides your students the practice they need to master music theory. The workbook contains hundreds of exercises--more than could ever be assigned in any one class--offering you the flexibility to construct assignments that best meet the needs of your students. The Second Edition is enhanced with more analysis exercises at the end of every chapter.

Materials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: chapters revised throughout to include new examples from recent music and insights from the latest scholarship; the introduction of several new concepts and topics, including parsimonius voice-leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; expanded discussions of spectralism and electronic music; timelines in each chapter, grounding the music discussed in its chronological context; a companion website that provides students with links to recordings of musical examples discussed in the text and provides instructors with an instructor’s manual that covers all of the exercises in each chapter. Offering accessible explanations of complex concepts, Materials and Techniques of Post-Tonal Music, Fifth Edition is an essential text for all students of post-tonal music theory.

"Music Theory Resource Book covers topics not usually found in standard theory texts including basic acoustics, contrapuntal techniques, jazz harmony, musics from non-Western cultures, and music since 1950."--BOOK JACKET.

This book is a hands-on investigation of the stages musicians go through as they learn to hear, read, and perform music. It draws on the latest research in music perception and cognition, music theory, and pedagogy, along with centuries of insight from music theorists, composers, and performers. The first part explores the development of music listening skills, including such broader activities as dictation and transcription, and specific abilities such as meter perception, short-term musical memory, and tonic inference. The second part then examines the skills involved in reading and performing music. It looks at such physical skills as vocal production and eye movements and at such complex integrated tasks as sight-singing transpositions and modulations. Throughout the book the author presents these skills in their musical contexts and emphasizes their roles in the general development of musicality. Aural Skills Acquisition builds important bridges between music theory, cognitive psychology, and pedagogy. It subjects ideas from music theory to the rigors of psychological testing and combines findings from the psychology of learning with ideas and methods of contemporary music theory. It will prove an invaluable guide for music teachers, music theorists, and psychologists interested in music perception and cognition.

Understanding Post-Tonal Music is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire. The updated second edition includes new "Explorations" features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. The text has been revised throughout to enhance clarity, both by streamlining the prose and by providing a visual format more accessible to the student.

Introduces the fundamental principles of Schenkerian analysis within the context of the music itself.

Designed to introduce the reader to a variety of analytic techniques applicable to music of our century, this valuable new book is written in a straightforward, clear style and includes abundant music examples, practical exercises, and reinforcing overviews.

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. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

Basic Post-Tonal Theory and Analysis gives students a thorough, clear, and methodical introduction to post-tonal music theory and its application to music composed since 1900. An all-in-one textbook and workbook, this resource provides basic theoretical tools and offers multiple opportunitiesfor application in the form of theoretical and analytical drills and composition exercises.

Twentieth-century music is explored from both a historical and a theoretical perspective in this enlightening text. Bryan R. Simms addresses style and structure with equal care as he chronicles the evolution of music from the time of Schoenberg to the work of such current composers as Schnittke and Gorecki. Throughout the book, Simms focuses on a number of influential compositions, examining 107 major works in depth as vivid representatives of music in our time.

Organized Time is the first attempt to unite theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form--author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann--but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun. Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for a multivalent approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.

Understanding Post-Tonal Music explores the compositional and musical processes of twentieth-century post-tonal music. The book is intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music. The aim of the book is to increase the accessibility of post-tonal music by providing students with tools for understanding issues like pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire.