The complete musician, The complete musician : an integrated approach to tonal theory, analysis, and listening

Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. DISTINCTIVE FEATURES * Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations * Explores not only standard four-voice harmony, but also other musical domains including melody, counterpoint, and a multitude of textures; the result is a text with applicability and relevance to all musicians * Includes almost 4,500 musical examples from the common-practice repertoire in the text and workbooks, more than 90 percent of which are on the CDs included with the text and workbooks--nearly twenty hours of music on MP3 files (all music is performed, recorded, and engineered at Eastman) Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. Distinctive Features: * Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations * Explores not only standard four-voice harmony, but also other musical domains including melody, counterpoint, and a multitude of textures; the result is a text with applicability and relevance to all musicians * Includes almost 4,000 musical examples from the common-practice repertoire in the text and workbooks, more than 90 percent of which are on the MP3 files included on the CDs with text and workbooks (all music is performed, recorded, and engineered at Eastman) New to this Edition: * Revised with beginning students in mind, this edition contains more basic exercises as well as solutions to selected exercises in the text. Longer and more difficult exercises have been moved to the workbooks. * Streamlined and reorganized with fewer chapters (31, down from 37), the text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive (covered in chapters 15, 16, and 23 of the previous edition)--to the appendices, where instructors may access them when their curricula permits, or omit them altogether. * This edition offers a new presentation of fundamentals: the first three chapters provide a review and synthesis for students with experience in music fundamentals, and a 100-page appendix introduces key concepts for students with little or no experience. This allows instructors to choose the pacing that best suits their class and individual students. * New "how-to" sections include introductions to conducting patterns, sight singing, and dictation. * This edition presents more than 250 new literature excerpts and complete works for analysis and dictation, including new instrumental combinations. * New theoretical topics of discussion include sonata-rondo. * New appendices offer further support: Appendix 5 covers terms and abbreviations used in the text and Appendix 6 includes selected answers to exercises in the text. Support Package * The new Companion Website (www.oup.com/us/laitz) provides instructor and student resources that include supplementary drill exercises. * The Instructor's Manual provides solutions to all of the dictation exercises, sample solutions for more than 250 writing (e.g., figured bass and melody harmonization) and analytical exercises, supplementary examples, exercises, and teaching guidelines that detail effective strategies for each chapter. * The two workbooks have been significantly reorganized: Workbook 1 is now dedicated to written and analytical activities, including figured bass, melody harmonization, model composition, and analysis. Workbook 2 covers musicianship skills. Exercises within each chapter of Workbook 2 are organized by activity type: singing arpeggiations of the chord being studied, then within a tune from the literature; two-part singing; dictation; keyboard; then instrumental application. Beginning With Music Fundamentals, This Text Covers All The Topics Necessary For A Thorough Understanding Of Undergraduate Music Theory By Focusing On Music In Context. The Text Links Each Of The Tasks That Comprise A Tonal Theory Curriculum, Explicitly Connecting Written Theory (writing And Analysis), Skills (singing, Playing, And Dictation), And Music-making Outside The Theory Class. Part I: The Foundation Of Tonal Music: Musical Space And Time -- Harnessing Space And Time: Introduction To Melody And Two-voice Counterpoint -- Musical Density: Triads, Seventh Chords, And Texture -- Part 2: Merging Melody And Harmony: When Harmony, Melody, And Rhythm Converge -- Tonic And Derminant As Tonal Pillars And Introduction To Voice Leading -- The Impact Of Melody, Rhythm, And Meter On Harmony: Introduction To V7; And Harmonizing Florid Melodies -- Contrapuntal Expansions Of Tonic And Dominant: Six-three Chords -- More Contrapuntal Expanions: Inversions Of V7, Introduction To Leading Tone Seventh Chords, And Reduction And Elaboration -- Part 3: A New Harmonic Function, The Phrase Model, And Additional Melodic And Harmonic Embellishments: The Pre-dominant Function And The Phrase Model -- Accented And Chromatic, Embellishing Tones -- Six-four Chords, Revisiting The Subdominant, And Summary Of Contrapuntal Expanisons -- The Pre-dominant Refines The Phrase Model --^ Part 4: New Chords And New Forms: The Submediant: A New Diatonic Harmony, And Further Extensions Of The Phrase Model -- The Mediant, The Back-relating Dominant, And Synthesis Of Diatonic Harmonic Relationships -- The Period -- Other Small Musical Structures: Sentences, Double Periods, And Modified Periods -- Harmonic Sequences -- Part 5: Functional Chromaticism: Applied Chords -- Tonicization And Modulation -- Binary Form And Variations -- Part 6: Expressive Chromaticism: Model Mixture -- Expansion Of Modal Mixture Harmonies: Chromatic Modulation And The German Lied -- The Neapolitian Chord (flat Ii) -- The Augmented Sixth Chord -- Part 7: Large Forms: Ternary, Rondo, Sonata: Ternary Form -- Rondo -- Sonata Form -- Part 8: Introduction To Nineteenth-century Harmony: The Shift From Asymmetry To Symmetry: New Harmonic Tendencies -- The Rise Of Symmetrical Harmony In Tonal Music -- Melodic And Harmonic Symmetry Combine: Chromatic Sequences -- At Tonality's Edge --^ Appendices: Appendix I: Fundamentals -- Appendix 2: Invertible Counterpoint, Compound Melody, And Implied Harmonies -- Appendix 3: The Motive -- Appendix 4: Additional Harmonic-sequence Topics -- Appendix 5: Abbreviations And Acronyms -- Appendix 6: Selected Answers To Textbook Exercises. Steven G. Laitz. Includes Index. Accompanying Compact Disc Contains Exercises And Examples From Text Performed By Musicians From The Eastman School Of Music. Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. This edition is revised with beginning students in mind and contains more basic exercises as well as solutions to selected exercises in the text. It is streamlined and reorganized with fewer chapters. The text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive--to the appendices, where instructors may access them as their individual curriculum permits, or omit them altogether. This edition contains numerous musical examples include guiding notations, with textural and structural reductions of more complex examples. Preface The Foundation of Tonal Music Merging Melody and Harmony A New Harmonic Function, the Phrase Model, and Additional Melodic and Harmonic Embellishments New Chords and New Forms Functional Chromaticism Expressive Chromaticism Large Forms: Ternary, Rondo, Sonata Introduction to Nineteenth-Century Harmony: The Shift from Asymmetry to Symmetry Appendices Index of Terms and Concepts Index of Musical Examples and Exercises