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The ONLY film music history

text that looks at sound and dialogue

as well as scores

This one-of-a-kind text features. . .

• Detailed sample
• Extended exercises
• Guidelines for writing
about films
• Sidebar commentary
from industry
• Over 300 illustrations
• Glossary of terms for
easy reference

Turn to page 20 to learn more!

2009 496 pp. paper APS BUHLER 978-0-19-532779-9 $50.00

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MUSIC APPRECIATION Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Introduction to American Popular Music . . . . . . . . . . . . 2 Research Methods / Bibliography . . . . . . . . . . . . . . . . . 22
Introduction to World Music. . . . . . . . . . . . . . . . . . . . . . 8
Introduction to Music Appreciation. . . . . . . . . . . . . . . . 10 MUSIC THEORY
Counterpoint (Sixteenth Century). . . . . . . . . . . . . . . . . 23
MUSIC EDUCATION Form and Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Conducting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Choral Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Ear Training and Sight Singing. . . . . . . . . . . . . . . . . . . 26
Elementary / Middle School Methods. . . . . . . . . . . . . . 12 Schenkerian Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Foundations of Music Education. . . . . . . . . . . . . . . . . . 13 Graduate Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Research Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Theory for Majors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
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Teaching in Higher Education. . . . . . . . . . . . . . . . . . . . 16 OTHER COURSES
Class Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
MUSIC HISTORY Career Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
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History of Western Music. . . . . . . . . . . . . . . . . . . . . . . 18
Film Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

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Topping the

STARR & WATERMAN’S latest release,

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The most complete, colorful, American Popular Music
The Pop, Rock, and authoritative text on From Minstrelsy to MP3
and Soul Reader A merican popular music Third Edition
Histor ies a nd
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Edited by David

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American Popular Music, Third Edition Package
CONTENTS Popular Music
Preface to the Third Edition 6. “In the Mood”: The Swing Era, 11. The 1970s: Rock Music, Disco, and with these
1935–1945 the Popular Mainstream
1. Themes and Streams of American Swing Music and American Culture Country Music and the Pop
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Theme Four: The Music Business
Country Music in the Swing Era: Roy
Acuff, Singing Cowboys, and
Rock Comes of Age
“Night Fever”: The Rise of Disco
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Theme Five: Centers and Peripheries Western Swing (See back cover of catalog
Streams of Tradition: The Sources of Latin Music in the Swing Era 12. Outsiders’ Music: Progressive for more details)
Popular Music Country, Reggae, Punk, Funk,
The European American Stream 7. “Choo Choo Ch’Boogie”: The and Rap, 1970s
The African American Stream Postwar Era, 1946–1954 The Outlaws: Progressive Country
The Latin American Stream Popular Music and Technology in the Music

Postwar Era “I Shot the Sheriff”: The Rise of Reggae
2. “After the Ball”: Popular Music of Rise of the Big Singers The Rise of Salsa Music
the Nineteenth and Early Twentieth Urban Folk Music: The Weavers “Psycho Killer”: 1970s Punk and New
Centuries The Mambo Craze (1949–1955) Wave
The Minstrel Show Southern Music in the Postwar Era “Tear the Roof off the Sucker”: Funk
Dance Music and Brass Bands Rhythm & Blues Music
The Birth of Tin Pan Alley Women in R&B: Ruth Brown and Big “Rapper’s Delight”: The Origins of
The Ragtime Craze, 1896–1918 Mama Thornton Hip-Hop
The Rise of the Phonograph Country and Western Music
Hank Williams 13. The 1980s: Digital Technology,
3. “Catching as the Small-Pox”: MTV, and the Popular Mainstream
Social Dance and Jazz, 1917–1935 8. “Rock Around the Clock”: Rock ’n’ Digital Technology and Popular Music
Technology and the Music Business Roll, 1954–1959 A 1980s CD Changer
“Freak Dances”: Turkey Trot and Tango Cover Versions and Early Rock ’n’ Roll A Tale of Three Albums
James Reese Europe and the Castles The Rock ’n’ Roll Business “Baby I’m A Star”: Prince, Madonna,
The Jazz Craze Early Rock ’n’ Roll Stars on the R&B and the Production of Celebrity
Jazz Becomes Popular Music: The Side
Original Dixieland Jazz Band Early Rock ’n’ Roll Stars on the Country 14. “Smells Like Teen Spirit”: Hip-
Dance Music in the “Jazz Age” Side Hop, “Alternative” Music, and the
“The King of Jazz” Wild, Wild Young Women: The Lady Entertainment Business
Vanishes Hip-Hop Breaks Out (1980s–1990s)
4. “I Got Rhythm”: The Golden Age Songwriters and Producers of Early Techno: Dance Music in the Digital Age
of Tin Pan Alley Song Rock ‘n’ Roll Alternate Currents
Tin Pan Alley Song Form Women’s Voices: Alternative Folk, Hip-
What Were Tin Pan Alley Songs 9. “Good Vibrations”: American Pop Hop, and Country
About? and the British Invasion, 1960s Globalization and the Rise of World
What Makes a Song a “Standard”? The Early 1960s: Dance Music and Music
“Teenage Symphonies”


5. “St. Louis Blues”: Race Records Berry Gordy and Motown 15. Conclusion
and Hillbilly Music Brian Wilson and the Beach Boys Music and Identity
Race Records The Beatles, the British Invasion, and Technology and the Music Business
Classic Blues the American Response Centers and Peripheries
The Country Blues The Latin Stream in 1960s Pop
Charley Patton and “Tom Rushen
Blues” (1929) 10. “Papa’s Got a Brand New Bag”:
Appendix: Illustrations of Key Music
Terms ROCK
Blind Lemon Jefferson: The First
Country Blues Star
Country, Soul, Urban Folk,
and the Rise of Rock, 1960s
Glossary ON. . .
Robert Johnson: Standing at the Bibliography
Patsy Cline and the Nashville Sound
Crossroad Ray Charles and Soul Music Timeline Turn the page for a peek inside
Early Country Music: Hillbilly Records James Brown and Aretha Franklin
Pioneers of Country Music: The Carter Urban Folk Music in the 1960s: Bob
Credits the new edition. . .
Family and Jimmie Rodgers Dylan Index
Popular Music and the Great The Counterculture and Psychedelic
CD Track List
Depression Rock
Sgt. Pepper’s Lonely Hearts Club Band
San Francisco Rock: Jefferson
Airplane, Janis Joplin, and the
Grateful Dead
Guitar Heroes: Hendrix and Clapton
The latest release from Starr/Waterman
has gotten rave reviews . . .

”Starr and Waterman offer ”This is the best textbook on the market
the strongest historical for a general popular music course for the
narrative, with excellent nonmajor. It is reliable, broad, and easy to read.
examples, comprehensive . . . It is a critical study that engages important
coverage of styles, and an cultural issues.”—Gayle Murchison, The College
integrated, chronological of William and Mary
approach.”—Mary Macklem,
University of Central Florida

Boxed inserts on significant

individuals, recordings,
and cultural issues, with an
illustrated timeline at the

back of the book

Listening Charts now

include exact timings
to help students orient
themselves as they use the
two in-text audio CDs

American Popular Music
The Rock Ye ar s
Larry Starr and Christopher Waterman
An accessible introduction to the rich historical and stylistic
landscape of American rock
2005 368 pp. paper APS STAROC
978-0-19-530052-9 $44.95
Significantly expanded coverage
of the Latin American stream
of influence throughout,
including the mambo craze of the
1950s, Latin music in the big-
band era, bossa nova, and salsa

Detailed in-text
listening guides
explain the most
important elements of
recordings discussed at

length in the text


The ONLY reader that brings together a wide range of readings
from the 1920s to the present
The Pop, Rock, and Soul Reader
Histor ies a nd Debates
Second Edition
Edited by Dav id Brackett, McGill Universit y

N E W t o t h e SE C ON D E DI T ION
• Includes eleven new selections, • Provides suggestions for further ments, reading questions, an in-
which offer an expansion of his- reading and listening at the end troduction to the basic materials
torical range, a greater emphasis of each chapter of music, teaching tips, a sample
on fandom, and more recognition syllabus, and the suggestions for
• Offers a comprehensive compan-
of the role of women further reading and listening
ion website (
bracket) featuring sample assign- from the book

c o n t e n t s
* = New to this edition 9. From Race Music to Rhythm and 17. “The House That Ruth Brown
Preface Blues: T-Bone Walker Built”
PART 1: BEFORE 1950 Kevin Sheridan and Peter Sheridan, Ruth Brown (with Andrew Yule), from
* 1. Irving Berlin in Tin Pan Alley “T-Bone Walker: Father of the Blues” Miss Rhythm: The Autobiography of
Charles Hamm, from Irving Berlin, 10. Jumpin’ the Blues with Louis Ruth Brown, Rhythm and Blues Legend
How the Beatles Songs from the Melting Pot: The Jordan 18. Ray Charles, or, When Saturday
Night Mixed It Up with Sunday
Destroyed Rock Formative Years, 1907–1914
2. Technology, the Dawn of Modern
Down Beat, “Bands Dug by the Beat:
Louis Jordan” Morning
’n’ Roll Popular Music, and the “King of Arnold Shaw, from Honkers and Ray Charles and David Ritz, from
Brother Ray: Ray Charles’ Own Story
Jazz” Shouters: The Golden Years of Rhythm
A n A lter nativ e and Blues 19. Jerry Wexler: A Life in R&B
History of Paul Whiteman and Mary Margaret
McBride, “On Wax” 11. On the Bandstand with Johnny Jerry Wexler and David Ritz, from
A mer ic a n Popul a r Otis and Wynonie Harris Rhythm and the Blues: A Life in
3. Big Band Swing Music: Race and
Music Power in the Music Business Johnny Otis, from Upside Your Head! American Music
Elijah Wald Marvin Freedman, “Black Music’s on Rhythm and Blues on Central Avenue 20. The Growing Threat of Rhythm
Top; White Jazz Stagnant” Wynonie “Mr. Blues” Harris, “Women and Blues
2009 336 pp. cloth
Irving Kolodin, “The Dance Band Won’t Let Me Alone” Variety, “Top Names Now Singing the
Business: A Study in Black and 12. The Producers Answer Back: The Blues as Newcomers Roll on R&B
White” Emergence of the “Indie” Record Tide”
4. Solo Pop Singers and New Forms Company Variety, “A Warning to the Music
of Fandom Bill Simon, “Indies’ Surprise Survival: Business”
Bing Crosby (as told to Pete Martin), Small Labels’ Ingenuity and Skill Pay 21. Langston Hughes Responds
from Call Me Lucky Off” Langston Hughes, “Highway Robbery
* Martha Weinman Lear, “The Bobby Arnold Shaw, from Honkers and Across the Color Line in Rhythm and
Sox Have Wilted, but the Memory Shouters: The Golden Years of Rhythm Blues”
Remains Fresh” and Blues 22. From Rhythm and Blues to Rock
Neil McCaffrey, “I Remember 13. Country Music as Folk Music, ’n’ Roll: The Songs of Chuck Berry

Frankee” Country Music as Novelty Chuck Berry, from Chuck Berry: The
5. Hillbilly and Race Music Billboard, “American Folk Tunes: Autobiography
Kyle Crichton, “Thar’s Gold in Them Cowboy and Hillbilly Tunes and 23. Little Richard: Boldly Going
Hillbillies” Tunesters” Where No Man Had Gone Before
6. Blues People and the Classic Blues Newsweek, “Corn of Plenty” Charles White, from The Life and Times
LeRoi Jones, from Blues People: The PART 2: THE 1950s of Little Richard: The Quasar of Rock
Negro Experience in White America 14. Country Music Approaches the 24. Elvis Presley, Sam Phillips, and
and the Music That Developed from It Mainstream Rockabilly
7. The Empress of the Blues Rufus Jarman, “Country Music Goes Elizabeth Kaye, “Sam Phillips Interview”
Nat Shapiro and Nat Hentoff, from to Town” 25. Rock ’n’ Roll Meets the Popular
Hear Me Talkin’ to Ya: The Story of 15. Hank Williams on Songwriting Press
Jazz as Told by the Men Who Made It Hank Williams (with Jimmy Rule), New York Times, “Rock-and-Roll
8. At the Crossroads with Robert from How to Write Folk and Western Called Communicable Disease”
Johnson, as Told by Johnny Shines Music to Sell Time, “Yeh-Heh-Heh-Hes, Baby”
Pete Welding, “Interview with Johnny 16. Rhythm and Blues in the Early New York Times, “Rock ’n’ Roll’s Pulse
Shines” 1950s: B.B. King Taken”
Arnold Shaw, from Honkers and Gertrude Samuels, “Why They Rock ’n’
Shouters: The Golden Years of Rhythm Roll—and Should They?”
and Blues
26. The Chicago Defender Defends 43. If You’re Goin’ to San Francisco . . . 62. Punk: The Sound of Criticism? 79. Nuthin’ but a “G” Thang
Rock ’n’ Roll Ralph J. Gleason, “Dead Like Live James Wolcott, “A Conservative Touré, “Snoop Dogg’s Gentle
Rob Roy, “Bias Against Rock ’n’ Roll Thunder” Impulse in the New Rock Hip Hop Growl”
Latest Bombshell in Dixie” 44. The Kozmic Blues of Janis Joplin Underground” 80. Keeping It a Little Too
27. The Music Industry Fight Against Nat Hentoff, “We Look at Our Parents 63. Punk Crosses the Atlantic Real
Rock ’n’ Roll: Dick Clark’s Teen- and . . .” Caroline Coon, “Rebels Against the Sam Gideon Anso and Charles
Pop Empire and the Payola Scandal 45. Jimi Hendrix and the Electronic System” Rappleye, “Rap Sheet”
Peter Bunzel, “Music Biz Goes Round Guitar 64. Punk to New Wave Selwyn Seyfu Hinds, “Party
and Round: It Comes Out Clarkola” Bob Dawbarn, “Second Dimension: Stephen Holden, “The B-52s’ American Over”
New York Age, “Mr. Clark and Colored Jimi Hendrix in Action” Graffiti” Natasha Stovall, “Town Criers”
Payola” 46. Rock Meets the Avant-Garde: 65. UK New Wave 81. Sample-Mania
PART 3: THE 1960s Frank Zappa Allan Jones, “The Elvis (Costello, That Neil Strauss, “Sampling Is (a)
* 28. Brill Building and the Girl Sally Kempton, “Zappa and the Is) Interview” Creative or (b) Theft?”
Groups Mothers: Ugly Can Be Beautiful” PART 5: THE 1980s 82. Women in Rap
Charlotte Greig, from Will You Still 47. Pop/Bubblegum/Monkees 66. A “Second British Invasion,”
Love Me Tomorrow? Girl Groups from Christopher John Farley, “Hip-
Robert Christgau, from Any Old Way MTV, and Other Postmodernist Hop Nation”
the 50s On . . . You Choose It: Rock and Other Pop Conundrums
29. From Surf to Smile 83. The Beat Goes On
Music, 1967–1973 Robert Christgau, “Rock ’n’ Roller
Brian Wilson (with Todd Gold), from Renee Graham, “Eminem’s
48. The Aesthetics of Rock Coaster: The Music Biz on a Joyride”
Wouldn’t It Be Nice: My Own Story Old Words Aren’t Hip-Hop’s
Paul Williams, “Get Off of My Cloud” 67. Thriller Begets the “King of Pop” Biggest Problem”
30. Urban Folk Revival Richard Goldstein, “Pop Eye: Greg Tate, “I’m White! What’s Wrong 84. From Indie to Alternative
Gene Bluestein, “Songs of the Silent Evaluating Media” with Michael Jackson” to . . . Seattle?
Generation” 49. Festivals: The Good, the Bad, and 68. Madonna and the Performance Dave DiMartino, “A Seattle
* Time, “Folk Singing: Sibyl with the Ugly of Identity Slew”
Guitar” J.R. Young, “Review of Various Artists, Camille Paglia, “Venus of the Radio 85. Riot Girl
31. Bringing It All Back Home: Woodstock” Waves”
Dylan at Newport Bikini Kill, “riot grrrl”
George Paul Csicsery, “Altamont, Jane Dark, “Madonnica”
Irwin Silber, “Newport Folk Festival, 86. Grunge Turns to Scrunge
California, December 6, 1969” 69. Bruce Springsteen: Reborn in the
1965” Eric Weisbard, “Over & Out:
PART 4: THE 1970s USA
Paul Nelson, “Newport Folk Festival, Indie Rock Values in the Age

50. Where Did the Sixties Go? David Marsh, “Little Egypt from of Alternative Million Sellers”
1965” Lester Bangs, “Of Pop and Pies and Asbury Park—and Bruce Springsteen
32. “Chaos Is a Friend of Mine” 87. A “Postalternative” Icon
Fun” Don’t Crawl on His Belly, Neither”
Nora Ephron and Susan Edmiston, Jonathan Van Meter, “The
51. The Sound of Autobiography: Simon Frith, “The Real Thing—Bruce
“Bob Dylan Interview” Outer Limits”
Singer-Songwriters, Carole King Springsteen”
33. From R&B to Soul 88. “We Are the World”?
* Robert Windeler, “Carole King: ‘You 70. R&B in the 1980s: To Cross Over
James Baldwin, from The Fire Next or Not to Cross Over? George Lipsitz, “Immigration
Can Get to Know Me Through My
Time and Assimilation: Rai, Reggae,
Music’” Nelson George, from The Death of
and Bhangramuffin”
Jerry Wexler and David Ritz, from 52. Joni Mitchell Journeys Within Rhythm and Blues
Rhythm and the Blues: A Life in 89. A Talking Head Writes
Malka, “Joni Mitchell: Self-Portrait of Steve Perry, “Ain’t No Mountain High
American Music Enough: The Politics of Crossover” David Byrne, “Crossing Music’s
a Superstar”
34. No Town Like Motown Borders: I Hate World Music”
53. Sly Stone: “The Myth of 71. Heavy Metal Thunders On!
Berry Gordy, from To Be Loved: The 90. Genre or Gender? The
Staggerlee” J.D. Considine, “Purity and Power—
Music, the Magic, the Memories of Resurgence of the Singer-
Greil Marcus, from Mystery Train: Total, Unswerving Devotion to
Motown Songwriter
Images of America in Rock ’n’ Roll Heavy Metal Form: Judas Priest and
35. The Godfather of Soul and the the Scorpions” Robert L. Doerschuk, “Tori
Beginnings of Funk Amos: Pain for Sale”
54. Not-so-“Little” Stevie Wonder 72. Metal in the Late Eighties: Glam
James Brown (with Bruce Tucker), from or Thrash? 91. Public Policy and Pop
Ben Fong-Torres, “The Formerly Little Music History Collide
The Godfather of Soul Stevie Wonder” Richard Gehr, “Metallica”
36. “The Blues Changes from Day Jenny Toomey, “Empire of the
55. Parliament Drops the Bomb 73. Postpunk Goes Indie
to Day” Air”
W.A. Brower, “George Clinton: Al Flipside, “What Is This Thing Called
Jim Delehant, “Otis Redding Interview” 92. Electronica Is in the House
Ultimate Liberator of Constipated Hardcore?”
37. Aretha Franklin Earns Respect Simon Reynolds, “Historia
Notions” 74. Indie Brings the Noise
Electronica Preface”
* Phyl Garland, “Aretha Franklin— 56. Heavy Metal Meets the Kim Gordon, “Boys Are Smelly: Sonic
Sister Soul: Eclipsed Singer Gains 93. R&B Divas Go Retro
Counterculture Youth Tour Diary, ‘87”
New Heights” Ann Powers, “The New
John Mendelsohn, “Review of Led 75. Hip Hop, Don’t Stop
38. The Beatles, the “British Conscience of Pop Music”
Zeppelin” Robert Ford, Jr., “B-Beats Bombarding
Invasion,” and Cultural 94. Fighting the Power in a Post-
* Ed Kelleher, “Black Sabbath Don’t Bronx: Mobile DJ Starts Something
Respectability 9/11 Mediascape—The Dixie
Scare Nobody” with Oldie R&B Disks”


William Mann, “What Songs the Chicks
57. Led Zeppelin Speaks! Robert Ford, Jr., “Jive Talking N.Y. DJs
Beatles Sang . . .” * Charles Taylor, “Chicks Against
Dave Schulps, “The Crunge: Jimmy Rapping Away in Black Discos”
Theodore Strongin, “Musciologically . . .” the Machine”
Page Gives a History Lesson” Time, “Bad Rap”
* 39. A Hard Day’s Night and 95. The End of History, the
58. “I Have No Message 76. “The Music Is a Mirror” Mass-Marketing of Trivia, and
Beatlemania Whatsoever” Harry Allen, “Hip Hop Madness: From a World of Copies Without
Barbara Ehrenreich, Elizabeth Hess, Cameron Crowe, “David Bowie Def Jams to Cold Lampin’, Rap Is Originals
and Gloria Jacobs, “Beatlemania: Interview” Our Music”
Girls Just Want to Have Fun” * Jay Babcock, “The Kids Aren’t
59. Rock Me Amadeus Carol Cooper, “Girls Ain’t Nothin’ but All Right . . . They’re Amazing”
Andrew Sarris, “Bravo Beatles!” Domenic Milano, “Keith Emerson” Trouble” * Sasha Frere-Jones, “1 + 1 + 1 = 1:
40. England Swings, and the Beatles Tim Morse, from Yesstories: Yes in Their 77. Where Rap and Heavy Metal The New Math of Mashups”
Evolve on Revolver and Sgt. Pepper Own Words Converge Selected Bibliography
Richard Goldstein, “Pop Eye: On 60. Jazz Fusion Jon Pareles, “There’s a New Sound in
‘Revolver’” Index
Miles Davis (with Quincy Troupe), Pop Music: Bigotry”
Jack Kroll, “It’s Getting Better . . .” from Miles: The Autobiography PART 6: THE 1990s AND BEYOND 2008 608 pp. paper
41. The British Art School Blues 78. Hip-Hop into the 1990s: APS BRACK2
61. Get On Up Disco 978-0-19-536593-1 $29.95
Ray Coleman, “Rebels with a Beat” Andrew Kopkind, “The Dialectic of Gangstas, Fly Girls, and the Big
42. The Stones versus the Beatles Disco: Gay Music Goes Straight” Bling-Bling
Ellen Willis, “Records: Rock, Etc.—the J.D. Considine, “Fear of a Rap Planet”
Big Ones”

Music in Music in the Music in Central

Mainland Hispanic Benjamin Brinner,
Southeast Asia Caribbean Universit y of California ,
G av in Douglas, Robin Moore , A vivid introduction that demonstrates
The Universit y of North Universit y of Texas at how three themes—flexibility, appro-
Carolina at Greensboro Austin priateness, and interconnectedness—
Placing the music of this region with- The first brief, stand-alone vol- characterize Java’s musical practices
in a social, cultural, and historical ume to explore the music of Cuba, and traditions
context, Music in Mainland South- Puerto Rico, and the Dominican 2006 192 pp. paper APS BRIJAV
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introduction to Burmese music ever Robin Moore examines how the
Universit y of North Texas
presented in a music textbook. Gavin cultural legacy of the slave trade, the
A thorough overview of Brazilian mu-

Douglas frames this survey within creolization of Caribbean musical

three key themes: music and diver- styles, and diaspora, migration, and sic, covering such diverse styles as sam-
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Music in Eastern

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Music in Japan
Bev erley Diamond,
Memorial Universit y of Music in China Bonnie C . Wade ,
Universit y of California ,
Newfoundland Frederick L au, Berkeley
globalmusic for more One of the first books to explore the Universit y of Hawaii at A comprehensive look at the music of
contemporary musical landscape of Manoa Japan—a nation in which traditional,
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Music in North Music in Bali Music in East

India Lisa Gold, San Francisco Africa
George E . Ruckert, Conservatory of Music Gregory Barz ,
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An entertaining look at the music of
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Ruth M. Stone , 2004 144 pp. paper APS REYES
Shanon Dudley,

Indiana Universit y 978-0-19-514667-7 $24.95 Universit y of Washington
An introduction to the fundamental An examination of the history and aes-
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. concert music, a Turn the page for Wade’s
unique performance practice of South Thinking Musically,
India ALSO of INTEREST Second Edition—
2003 176 pp. paper APS VISWAN
978-0-19-514591-5 $24.95 Shadows in the Field the core volume of the
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New Per spectiv es for Fieldwor k in
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Framing Volume in the Global Music Series
Thinking Musically
Exper iencing Music, Expr essing Cultur e
Second Edition
Bonnie C . Wade , Universit y of California , Berkeley

D esigned for undergraduates and

general readers with little or no
background in music, Thinking Musi-
• Two in-text CDs • Expanded discussion of field-
cally, Second Edition, incorporates
• Extended coverage of the influ- work (Chapter 7)
music from many diverse cultures and
ence and pressures of gender and • A
 dditional and improved ped-
establishes the framework for explor- mass media on the form, content, agogical and supplemental
ing the practice of music around the and performance of music materials, including additional
world. The text examines musical  p-to-date material on current
• U photographs, new activities, and
trends influencing music (e.g., more references to volumes of the
instruments and the fundamental
YouTube, MySpace, and digital Global Music Series (pp. 8–9)
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Packaged with Thinking Musically and a CD

of musical examples!
Teaching Music Globally
Exper iencing Music, Expr essing Cultur e
Patricia Shehan Campbell, University of Washington, and BONNIE C. WADE, University of
California, Berkeley

D eveloped in conjunction with Thinking Musically (above) and the Global Music Series (pp. 8–9), Teaching Music
Globally provides teachers and students of music education with ideas and techniques for engaging their students in
the study of the world’s musical cultures.
2004 258 pp. paper APS CAMPPK 978-0-19-517143-3 $45.95
The Art of Communication
Wayne Bailey, Arizona State Universit y

C onducting: The Art of Communication provides the most comprehensive treatment available on all aspects
of instrumental conducting: technical, analytical, and expressive. Designed to be used in both beginning and
advanced conducting courses, this comprehensive text contains numerous error detection and score study exercises—
and a unique CD for instructors.

“Finally we have a conducting FE AT U R E S

• Offers
 innovative exercises that • Includes instruction in and
text available that is comprehen-
combine standard literature with examples of score study for
sive, understandable, and com- exercises written by the author rehearsal and performance
pletely practical for undergradu- purposes
• Features unique aural skills and
ate conducting classes!”—Tom error detection exercises that • Presents exercises on a CD—
O’Neal, University of Missouri, help develop the conductor’s ear in the music notation program
Finale—so that instructors can
Columbia • Includes a glossary of conduct- manipulate and print the exer-
ing terms and transposition and cises to make custom orches-
clef charts trations

c o n t e n t s
Preface Gesture Box Cues Clefs and Chapter 10
UNIT I. Chapter 4 Fermata Exercises, Rhythmic
INTRODUCTION Score Study Errors, and Errors
Preparatory Gestures Tenuto
TO THE ART OF of Pulse
Rehearsal Planning
CONDUCTING Three Pattern Tempo Fluctuations
Exercises, Note Errors
Marking the Score
Chapter 1 Two Pattern Syncopated Entrances
Exercises, Intonation
Chapter 8
Purpose and Training Four Pattern Mixed Patterns Errors
of Conductors Sample Score
Five and Seven Unmetered and Exercises, Dynamic
Analyses, Mozart
Development of Patterns Timed Passages and Articulation
Symphony No. 35
Conducting Six Pattern Use of the Left Hand Errors
First Suite in E-Flat,
Chapter 2 Pick-Up Beats Chapter 6 Exercises, Errors of
Gustav Holst
All Types
Language of Basic Releases Facial Expressions UNIT IV. ERROR
Conducting Bibliography
Use of the Left Hand Posture and Body DETECTION AND
Chapter 3
Subdivision of Beats
Language CORRECTION Index Basic Techniques
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Directing the Choral Music Program
K enneth H. Phillips, Gordon College a nd The Universit y of Iowa

B road in scope and practical in orientation, Directing the Choral Music Program is a comprehensive introduction
to developing and managing choral music programs from elementary through high-school and adult levels.

c o n t e n t s*
Each section concludes with Optional II. Rehearsal and 17. Rehearsing the Choir
Projects. Each chapter includes Performance Planning
18. Understanding Styles and
Study and Discussion Questions and
7. Working with Adolescent Singers Performance Practices
8. Planning for Discipline and Choir 19. Presenting the Performance
20. Directing Other Choral
I. Choral Administration
9. Choosing the Music Organizations
1. Becoming a Choral Music Director
10. Preparing the Choral Rehearsal Epilogue: Moving into the Workplace
2. Developing a Philosophy for the and Music
21. Planning for Success, Eugene F.
Music Program 11. Organizing Performances Bechen
C H O R A L M E T H O D S / E L E M E N TA RY / M I D D L E S C H O O L M E T H O D S

3. Promoting and Recruiting for Choral 12. Popular Music Presentations Appendixes
III. Choral Techniques Index
4. Planning and Building the Choral
13. Vocal Development, Part 1 * For a complete Table of Contents, please
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15. Energizing the Choral Warm-Up 2003 432 pp. cloth APS PHIDIR
6. Managing the Choral Program
978-0-19-513282-3 $65.95
16. Teaching Sight-Singing Skills

Teaching General Music in Grades 4–8

A Musici a nship A pproach
Thomas A . R egelski, State Universit y of New York, Fredonia

A n ideal core text for both elementary and middle

school general music methods courses, Teaching
General Music in Grades 4–8 discusses the important
• Offers “protocols” that allow instructors to design
their own lessons and tailor them to suit numerous
physical, psychological, cognitive, and social developmen- conditions
tal changes that students ages 9–14 undergo—and the
• Concludes each chapter with a down-to-earth “Nuts
implications of these changes for instruction in a variety ‘n’ Bolts” section containing advice and recommen-
of school organizational formats. Offering music educa- dations
tors both broad and detailed guidelines to fit the needs • Includes a glossary of key terms and ideas in music
of this challenging age group, Thomas A. Regelski takes education
“The authors challenge us
a “musicianship approach” that regards general musical • Provides appendices containing a model curriculum,
(students and faculty) to
classes for these grades as an apprenticeship for lifelong resources, and tips for using MIDI-based instruction
think anew about issues and software
musical involvement.

that we may have con-

sidered settled.”—Birch 2004 320 pp. cloth APS REGELS 978-0-19-513778-1 $69.95

Browning, Cleveland State


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An expert examination of critical issues that links contemporary
theory with practice

Critical Issues in Music Education New!

Contempor ary Theory a nd Pr actice
Edited by H arold F. A beles a nd Lori A . Custodero, both at Teachers College,
Columbia University

C ritical Issues in Music Education: Contemporary The-

ory and Practice examines the rich and challenging
complexities of music teaching and learning from a variety
Designed for upper-level undergraduate and introduc-
tory graduate courses, Critical Issues in Music Education
provides beginning music educators with comprehensive
of perspectives. With individual expertise in fields includ- grounding in research-based practice. It also gives more
ing assessment, philosophical foundations, technology, experienced teachers new lenses to help them innovate,
mentoring, critical theory, and musical development, the interpret, and lead in their profession.
“The best of the best writers
contributing authors are graduates or faculty at the highly
FE AT U R E S contribute to this book, which
regarded Teachers College of Columbia University. In this
• Links theory to teaching practice through a variety is highly worthwhile and invit-
text, they link current educational theory to pedagogical
of perspectives ing. It contains a wealth of ideas
inquiry of current educational practice, calling for teach-
• Traces the historical, philosophical, and social under- and experience from the most
ers to critically reflect on such professional activities as pinnings of current beliefs, theories, and practices respected experts in the field of
lesson planning, curriculum design, repertoire choice,
• Suggests reflective tools and professional development music education.”
and student evaluation. strategies for music teachers —Lynn Brinckmeyer, Texas
• Includes discussion starters, project ideas, and sug- State University-San Marcos
gested readings at the end of each chapter

c o n t e n t s
Preface Aesthetic Philosophy Developmental Characteristics 10. Choosing Music 13. The Inquiring Music

of Music Learners Literature, Randall Allsup Teacher, Harold Abeles and
Contributors Philosophical Rationales for Colleen Conway
Music in the Schools Summary: On Being and Introduction
1. Historical Contexts of Introduction
Music Education, Harold Conclusion Becoming Musical The Problems of Tradition
F. Abeles 7. Curriculum, Cathy Benedict Sources of Research in Music
4. Meaning and Experience: The Problems of Change Education
Introduction The Music Learner, Lori Introduction Teacher Judgment
Custodero Approaches to Research
Music Education in the First Scientific and Technical Summary
Half of the 20th Century Introduction Rationality Quantitative Approaches to
11. Music Education Research
Federal Education Policy Musical Meaning and Curriculum Reconceptualized Technology, James Frankel
and Music Education: Embodiment Historical Research
1950–Present “Multicultural” Curriculum Technology in the Music
Processing Experience: Qualitative Research
Some Concluding Remarks Classroom
Equity Issues in Music Cognitive Structures and Action Research and Teachers
Education: 1950–Present Connections 8. Assessing Music Learning, Classroom Environments as Researchers
Summary The “Creating” Mind: Harold Abeles Computer-Aided Instruction Summary
Meanings through Introduction Music Production Software
2. Music as Socio-Cultural Constructing and Interpreting 14. Framing a Professional
Phenomenon, Roberta Lamb Music Considerations of Assessment New Instruments Life: Collaboration and
Introduction: “A Framework of Assessing the Outcomes of Leadership, Harold Abeles,
Key Issues in Music Learning New Media—New Directions Colleen Conway, and Lori
Explanations” Music Instruction
Meaningful Engagement in Conclusions Custodero
Sociology in Education, Music, Music Teaching and Learning Alternative Approaches to
and Music Education Assessing the Outcomes of 12. Music Teacher Education Introduction
5. The Learner in Community, Music Instruction in the 21st Century: Collaborations
Formalism: Functionalist Patricia St. John Developing Leaders in the
(Durkheim) and Rationalized Standardized Testing in Music Field, Colleen Conway Involvement in Local, State,
(Weber) The Community of Learners Regional, and National
State and National Assessments Introduction
Critical Theory, The Frankfurt Learning Strategies in of the Outcomes of Music Professional Music
School, and Critical Pedagogy Community Instruction Music Teacher Education International Opportunities for
Research Context Professional Development
Interaction Theories in Communities of Musical Evaluating School Music
Education and Music Learning Programs Music Teacher Education Policy Envisioning a Career Path
Social Justice: Interactions with Summary Conclusion Advocating and Initiating
Webs of Difference Recruitment of Music Change: Providing Leadership
6. Music Learning and 9. Methods and Approaches, Education Majors into the
Web of Postmodernism in Musical Development, Cathy Benedict Preservice Program Developing as a Professional
Education Lori Custodero
Introduction General Issues in Music Teacher Conclusion
Technology Transforming Introduction Education Curriculum
Music Education Emile Jacques-Dalcroze References
Key Issues in Musical Supporting Beginning Music
Summary Developmental Kodaly Index
3. Philosophical Perspectives General Theories of Carl Orff October 2009 416 pp. cloth
Challenges of the First Years
of Music Education, Development and Musical Shinichi Suzuki APS ACIME1
Randall Allsup Applications Conclusion
Edwin Gordon 978-0-19-538815-2 $69.95
Introduction Pathways and Patterns of
Musical Development General Issues and Lingering
Philosophy and Education Thoughts
Exploring Research in Music Education and
Music Therapy
K enneth H. Phillips, Gordon College a nd The Universit y of Iowa

T his practical text provides a comprehensive introduc-

tion to understanding research in music education
and music therapy. Designed primarily for the introduc-
“I would like to say bravo for putting this text
together. I think we need it in our field, and I ap-
tory research course taken by upper-level undergraduates preciate the level-headed approach. Phillips does a
and graduate students, it is also useful for all interested good job of covering all the methodologies.”
undergraduates in both fields. In contrast with tradi- —Diana Hollinger, San Jose State University
tional “how to” textbooks, Exploring Research in
Music Education and Music Therapy adopts a unique “This book would fit beautifully into our gradu-
“how to read and comprehend” approach to music ate program. Phillips has hit the nail on the head
research. It helps students explore and understand articles by including introductions to research types with
in professional research journals, familiarizing them with actual examples from the literature. . . . I appreci-
the literature itself and with basic concepts, terms, and ate how Phillips pushes students into new areas
statistical symbols. without frightening them. I applaud the inclusion
of qualitative and action research. I would adopt
this text into a music education research course in
a second.”—Bruce Gleason, University of
St. Thomas

c o n t e n t s*
Each Chapter ends with Study and Part Three: Qualitative Part Five: Research and the
Discussion Questions and Suggested Research Classroom
Activities. 6. Principles of Qualitative Research 15. Action Research
Preface 7. Critical Reading of Qualitative 16. Integrating Research and Teaching
Part One: Research Basics Research
1. Research in Music Education and 8. Reflecting On Qualitative Research

Music Therapy Part Four: Quantitative

Research References
2. The Research Study
9. Principles of Quantitative Research Index
3. Reading Research: A Commentary
10. Analysis of the Data * For a complete Table of Contents, please
Part Two: Historical and
Philosophical Research 11. Quantitative Research: Descriptive
4. Historical Research 2007 384 pp. paper APS PHIRES
12. Quantitative Research: 978-0-19-532122-7 $39.95
5. Philosophical Research Experimental
13. Quantitative Research: Clinical
14. Mixed Methods Research

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The ONLY book that teaches strings with a unique in-text DVD!
Strategies for Teaching Strings
Building a Successful Str ing a nd Orchestr a Progr a m
Second Edition
Donald L . H amann, Universit y of Arizona , a nd Robert Gillespie , The Ohio
State Universit y

“This text represents the highest standard for

string pedagogy writing. . . . with the DVD it is
even more successful as a teaching tool. Bravo!” • In-text DVD demonstrating playing techniques,
fingering positions, and teaching strategies in ac-
—Brenda Brenner, Indiana University
tion; these are keyed to the text by clip numbers
and marginal icons

T his is an essential guide for prospective, novice,

and experienced string teachers alike. Now featur-
ing an integrated DVD, this comprehensive text covers
• New
 and updated lists of resources at chapter
ends, including new resources for jazz improvisa-
tion in Chapter 8
performance objectives, strategies for teaching technical • Expanded appendices
and performance skills, and solutions to common play- • A more extensive history of string instruments Geared for the general in-
ing problems for elementary, middle, and high school in Chapter 1 strumental music educator,
these texts provide handy,
skill levels. • Thorough updating of Chapter 10 to include
easy-to-use pedagogical
the most recent literature on method books and
resources for school instru-
music for the school orchestra program
mental programs.

c o n t e n t s*
Preface 9. String Student Recruitment and Appendix D: Additional Pedagogical
Retention Resources
1. The String Instrument Family
10. Method Music and Books for the Index
2. The School Orchestra Program
School Orchestra
* For a complete Table of Contents, please
3. Beginning String Class Instruction
Additional Resources visit
4. Intermediate String Class Instruction
Appendix A: Correlated String Orchestra 2008 288 pp. spiral-bound paper
5. Advanced String Class Instruction Music and Teaching Strategies to APS HAMAN2 978-0-19-536912-0
6. Preparing for Your Orchestra Develop Bowing and Left-Hand $54.95
Rehearsal Playing Skills

7. Conducting Your Rehearsal Appendix B: The National Standards

8. Practical Approaches to Teaching Appendix C: The Survey of Teaching 2009 752 pp. paper
Improvisation in the School Orchestra Effectiveness (STE) APS ELYWIW


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2009 552 pp. paper
978-0-19-532924-7 $35.00
The ONLY book designed to help graduate students teach
Teaching Music in Higher Education
Colleen Conway, Universit y of Michigan, a nd Thomas Hodgman, Adrian

G raduate students already know what to teach when

they begin teaching undergraduates, but often find
they lack the knowledge of how to teach it. Teaching Music
“The material definitely reflects contemporary
ideas in the field. The focus on learner-centered
instruction, while not new to education in general,
in Higher Education is the only book designed specifically
is very new to music instruction in higher educa-
to help graduate students in music teach undergraduates
tion and needed. The text is well documented with
(both music- and non-music majors).
“I think you have a winner current resources.”—Harold Abeles, Columbia
Covering all aspects of the process—from the first class University
in this text. . . . I would
taught through obtaining tenure and promotion—this
stress the thorough cover-
book effectively answers a host of questions that begin- “The writing style is quite accessible and appropri-
age of a number of im-
ning instructors are likely to have. The authors emphasize ate for my students. It is written in a personal and
portant topics that young
innovation and learner-centered pedagogy, stressing a conversational manner that will be more motiva-
professors face in their
teaching style tailored to meet individual student needs. tional to read. . . . [I would cite] the breadth of
journey from their gradu-
Beginning music instructors learn how to organize and important topics covered for the novice collegiate
ate student years to first
explain materials in ways appropriate to students’ abilities; instructor, from the job hunt, through issues of
position as a lecturer/in-
create an environment for learning; help students become teaching and learning, to matters of promotion
structor/assistant professor
autonomous self-regulated learners; and reflect upon and and tenure, [and] the excellent practical examples
to achieving a promotion
evaluate their own teaching. This book shows graduate and student vignettes.”—Don Ester, Ball State
as tenured associate profes-
students how to accomplish all of these goals and more. University
sor. . . . Graduate students

would value and evaluate

this text positively.”
—Bernard Dobroski,
Northwestern University • Materials for organizing a course, including a course preparation guide with sample syllabi, an outline of a
typical course sequence for a music major, sample performance assessment tools, and sample forms for student
midterms and final evaluations
• Vignettes written by undergraduate music majors and reflections from successful music faculty
• Advice for the job search and professional development
• A sample Faculty Activities Report for music professors and a sample tenure and promotion materials
• National Association of School of Music (NASM) requirements and teacher education requirements for music
education majors
• Suggestions for further reading at the end of each topic

c o n t e n t s*
Preface 6. Instructional Strategies for Academic 11. Feedback from Students and
Courses Reflection on Teaching
Part I. Course Planning and
Preparation 7. Strategies for Active Learning in 12. Navigating a Career in Higher
Music Classrooms Education
1. Designing an Undergraduate Music
Course 8. Teaching Applied Music 13. Professional Development &
Improvement of Teaching
2. Assessment and Grading in Music 9. Toys or Tools? Instructional
Courses Technology References
3. Understanding the Learners Part III. Growth in Index
Teaching Practice and
4. Sample Syllabi for Music Courses * For a complete Table of Contents, please
a Future in Higher
Part II. Teaching and Education
Learning 2008 256 pp. paper APS CONTEA
10. The Job Search in Higher Education
5. Creating a Culture for Learning 978-0-19-536935-9 $29.95
A Vivid Introduction to European Music from 1600 through 1750
Music of the Baroque
Second Edition
Dav id Schulenberg, Wagner College

M usic of the Baroque, Second Edition, and its accompanying anthology of scores (below) offer a vivid introduc-
tion to European music from 1600 through 1750. Integrating historical and cultural context with composer
biography, music analysis, and performance practice, the text surveys Baroque music while analyzing in depth more
than forty works from the principal traditions of the period.

c o n t e n t s*
Preface 5. Secular Vocal 10. Music for Solo 13. Music for * For a complete Table of
Music of the Later Instruments I: Instrumental Contents, please visit
1. Introduction Seventeenth Century Toccata and Suite Ensemble II:
2. A Sixteenth-Century Sinfonia and Concerto
6. Lully and French 11. Music for Solo 2007 416 pp. cloth
Prologue: Motet and Musical Drama Instruments II: 14. A Mid-Eighteenth-
Madrigal Fugues and Pièces Century Epilogue: APS BARTX2
7. Seventeenth-Century The Galant Style 978-0-19-533106-6
3. Transitions around Sacred Music 12. Music for
1600 $64.95
Instrumental Bibliography
8. Late Baroque Opera Ensemble I:
4. Monteverdi and Early Index
Baroque Musical 9. Late Baroque Sacred The Sonata
Drama Music

Music of the Baroque

A n A nthology of Scor es
Second Edition
Dav id Schulenberg, Wagner College

T his anthology includes works by such celebrated Baroque composers as Bach, Handel, Lully, Monteverdi, and
Schütz while also featuring compositions by lesser-known composers including Barbara Strozzi and Elizabeth-
Claude Jacquet de La Guerre. This second edition complements the textbook’s emphasis on performance practice
while adding important instrumental works for lute, chamber ensemble, and trumpet with strings, as well as excerpts
from a grand motet.
25. Elizabeth-Claude Jacquet 36. Arcangelo Correlli:
c o n t e n t s de La Guerre: Prélude from Sonata in C for Violin and
Preface 13. Giovanni Gabrieli: In Suite III in A Minor Continuo, op. 5, no. 3
ecclesiis (concertato motet) 26. Dietrich Buxtehude: 37. Torelli: Sinfonia in D
1. Giovanni Pierluigi da
Palestrina: Dum complerentur 14. Heinrich Schütz: Herr, Nun bitten wir den heiligen for Trumpet, Strings, and
(motet) neige deine Himmel, SWV Geist, BuxWV 208 (chorale Continuo, G. 8
361 (concertato motet) prelude)
2. Orlande de Lassus: Timor et 38. Arcangelo Corelli:
tremor (motet) 15. Heinrich Schütz: Saul, 27. Dietrich Buxtehude: Concerto Grosso in G
Saul, was verfolgst du mich?, Praeludium in A Minor, Minor, op. 6, no. 8,
3. Don Carlo Gesualdo, Prince BuxWV 153 “Christmas”
SWV 415 (concertato motet)
of Venosa: Beltà, poi che

t’assenti (madrigal) 16. Giacomo Carissimi: Jepthe 28. Johann Sebastian Bach: 39. Antonio Vivaldi: Concerto
(oratorio: selections) Prelude and Fugue in G, in E for Violin, Strings, and
4. Claudio Monteverdi: Luci BWV 860, from The Well- Continuo, op. 3, no. 12 (R.
serene (madrigal) 17. Michel-Richard de Lalande: Tempered Clavier, Part 1 265)
De profundis (grand motet,
5. Giulio Caccini: Sfogava con 29. Jean-Henri d’Anglebert, 40. Johann Sebastian Bach:
le stele (continuo madrigal) François Couperin, and Jean- Brandenburg Concerto no.
18. George Frideric Handel: Phillipe Rameau: Extracts 2 in F, BWV 1047
6. Claudio Monteverdi: Orfeo,
Orlando (opera: selections) from ornament tables
Act 2 (opera: selections) 41. Georg Philipp Telemann:
19. Jean-Phillipe Rameau: Les 30. François Couperin: Vingt- Nouveau quatour no. 6 in
7. Claudio Monteverdi: Il
indes galantes (opéra-ballet: unième ordre (keyboard E Minor for Flute, Violin,
combattimento di Tancredi e

selections) suite: selections) Viola da Gamba (or Cello),

Clorinda (balletto or dramatic
madrigal) 20. Johann Sebastian Bach: and Continuo, TWV 43: e4
31. Salamone Rossi: Sonata
Herr Jesu Christ, wahr’r sopra La Bergamusca 42. Carl Philipp Emanuel
8. Pier Francesco Cavalli:
Mensch und Gott, BWV 127 Bach: “Württemberg”
Giasone (opera: selections) 32. Dario Castello: Sonata 12
(sacred cantata) Sonata” no. 1 in A Minor for
9. Barbara Strozzi: Ardo in from Libro I
21. George Frederic Handel: Keyboard, W. 49/1
tacito foco (cantata or strophic 33. Biagio Marini: Sonata
Jephtha (English oratorio:
aria) Variata for Violin and 2007 400 pp. paper
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nel seno amato (cantata: 34. Hans Ignaz Franz Biber:
for Lute
selections) Sonata 5 in E Minor for
23. Girolamo Frescobaldi: Violin and Continuo
11. Henry Purcell: From Rosy
Toccata 7 (from Libro II)
Bowers (catata) 35. Giovanni Legrenzi: Sonata
24. Johann Jacob Froberger: La Strasolda for Two Violins
12. Jean-Baptiste Lully: Armide
Suite 20 in D and Continuo
(opera: selections)
New Edition! Now available from Oxford University Press . . .

Ideas and Styles in the Western Musical

T hird Edition
Douglass Seaton, The Florida State Universit y

A “-Free” Book of Music History: In addition, the thoroughly updated and revised
Anthology-Free, List-Free, and third edition:
Clutter-Free • Includes the most current historiography

I deas and Styles in the Western Musical Tradition, Third • C

 larifies the interconnections and divisions between
musical periods, moving away from “periodiza-
Edition, explores the conceptual frameworks that have tion” terms
shaped musical development from antiquity to the present.
• Offers an updated and comprehensive timeline
In a lively narrative that prompts readers to think both
“Seaton’s writing style is • E
 xpands the final chapter with additional recent
critically and creatively, Douglass Seaton uses historical works and more reflection on postmodernism
very fine—elegant and clear
documents from thinkers, artists, and musicians to add
—an excellent model. . . . It • F
 eatures a unique anthology-free design that al-
rich detail to the compelling story of Western music. This lows instructors the flexibility to choose their own
really is interesting to read,
brief and accessible narrative of music history features musical examples (a correlation guide to the major
and it leaves a lot of room score anthologies is included in the Companion
numerous works of art, literature, and music that immerse
for the instructor to choose Website)
the reader in the historical and intellectual contexts of
the listening selections.”
musical styles.
—Carol Padgham
Albrecht, University
c o n t e n t s*
of Idaho
1. Music in the Life and Instruments The Hundred Years’ War The Reformation in England
Philosophy of Ancient and English Music on the
Greece The Use of Instruments Continent The Counter-Reformation
SU PPORT Greek Music Theory 5. The Development of The New Style on the Faith, Music, and the Power
PA C K A G E Music in Ancient Rome
Polyphony Continent of Words
The Significance of The Idea of a New Music 11. The Close of the
The third edition is 2. The Early Christian Polyphony Sixteenth Century
Period 8. The Spread of New
also enhanced by a new Carolingian Polyphony Musical Ideas and Italian Music at the End of

The Growth of the Christian Practices to 1600 the Sixteenth Century

Companion Website Romanesque Developments
Church and Its Music
Gothic Thinking and Style The Growth of the Mannerism
( The Jewish Heritage Renaissance Musical Style
Notre Dame Polyphony The Italian Style in England
with study aids, chapter The Diversification of in the North
The Motet France
Practice The Ascendancy of the
synopses, review and quiz Late Thirteenth-Century The Venetian Style
3. The Establishment of a Northern Style
materials, questions for Catholic Tradition Developments The Significance of Late
Music for Social Use Humanist Styles
study and reflection, lis- The Political-Cultural Symbolic Values in Medieval
Situation at the Beginning Polyphony Regional Variations of the 12. Rationalism and its
tening recommendations, of the Ninth Century 6. Music in the Fourteenth Cosmopolitan Style in Impact on Music
Century Secular Music
guidance for research and The Roman Liturgy An Age of Reason
The Increasing Secularization 9. Instrumental Music in
writing in music history, Aesthetic Considerations the Sixteenth Century Aesthetic Considerations
Regarding the Chant of Culture
and teaching tips. Also The Place of Instruments The Doctrine of Affections
The Musical Style of the Ars Nova
included are hints for Chant Instruments and their The Florentine Camerata
Isorhythm Combinations
pronouncing church Lat- The Music Theory of the Monody and the Basso
Chant The Roman de Fauvel Instruments and Vocal

in as well as a correlation Form in Secular Song Music
Later Developments in the Concertato
guide to the major score Liturgical Chant Instrumental Adaptations of
Guillaume de Machaut Vocal Music and Genres Seconda Pratica
4. Medieval Secular Song
anthologies. and Instrumental Music Ars Subtilior Instrumental Genres Expression of New Ideas in
Secular Music before the The Italian Trecento 10. The Reformation and New Styles
Eleventh Century Cadence Patterns in the Music 13. New Genres and Styles
Fourteenth Century The Background of the in the Age of Rationalism
Latin Songs
Reformation Three Styles
Epics and Minstrels English Polyphony
The Music of the Lutheran The Creation of Opera
Troubadours and Trouvères 7. Humanism and Music
Reformation Developments in Italian
The Rise of a Humanist Opera
German Court Music World View The Calvinist Reformation
Monophonic Songs in Other Vocal Chamber Music
Regions Sacred Music
Seventeenth-Century Musicians in Late 20. Developments in 23. Modernism and the
Instrumental Music Eighteenth-Century Romanticism to 1850 Period between the
Society World Wars
14. The Late Seventeenth The Context for
Century Contrasting Careers for Romanticism to the Modernism
Classical Musicians: Middle of the Nineteenth A Period of Readjustment “When I was reading this
French Opera in the Haydn and Mozart
Seventeenth Century Century text, it was as if I were
Comic Opera in the Early The Twelve-Tone Method of
English Music in the Enlightenment Romantic Lyricism in Italian Composition reading a new novel for
Seventeenth Century Opera Toward Serialism
Opera Seria and Opera my own pleasure. The
Italian Opera Reform French Grand Opera Artistic Objectivity
Instrumental Genres and the The Cult of Virtuosity
book is beautifully written,
The Cantata and Other Neoclassicism
Vocal Chamber Music Sonata Plan clear, and concise. . . .
Some “Serious” Performers New Tonal Theory
The Sonata Form and Its Though Seaton’s writing
German Musical Genres Variants Lyricism and Virtuosity— The Influence of Regional
Chopin Musics
The Development of Expression and Function is as scholarly as any I’ve
Instrumental Forms and Salons and Drawing Rooms The Music of Socialist
Idioms 18. The End of the Realism in the Soviet read, it is immediately
Eighteenth Century Instrumental Genres in Union
15. The Early Eighteenth readable, logical, and
The Position of Haydn and Romantic Music The United States
Century utterly enjoyable.”
Mozart Romantic Musical Style The Avant-Garde
The Late Rationalist Period
Chamber Music Recognition of the Musical
—Virginia Boaz, East
Opera Seria—Handel and 24. In The Second Half of
Others Symphony Heritage the Twentieth Century Texas Baptist University
The Intermezzo Concerto The Midpoint of the History and Contemporary
Nineteenth Century Music
Opera in France Mozart’s Mature Operas
21. The Second Half of the Composers in Late- “I enjoy the flexibility that
Handel and the Oratorio A New Model for Expression Nineteenth Century Twentieth-Century Society
Germany The New German School this book allows in select-
The Enlightenment Beethoven Total Control
Johann Sebastian Bach The Artwork of the Future ing which pieces to use in
The American Colonies and The Exploration of New
16. New Currents in the the Early United States Late Romanticism Timbres: Extended
Early Eighteenth Century and out of class, whether
19. The Rise of the Influences of the New Techniques
New Directions in Thinking Romantic Movement in an existing anthology,
German Style Electronic Music
and Style online, in a course-pack,
Philosophical Roots of Realism in Late Nineteenth- Indeterminacy
The Development of the Romantic Thought Century Opera or in the library. . . . This
Tonal System Romantic Art Exoticism Aesthetic Issues
is an outstanding text-
The Idea of the Galant The Romantic Movement Late Nineteenth-Century Postmodernism
French and Italian Operatic in the History of Musical National Styles Postmodernism in Music
book, and the only one I
Comedy Nationalism in Other Jazz and Popular Music feel comfortable asking
Beethoven from 1802 Countries
The empfindsamer Stil my students to purchase. “
Beethoven’s Last Period The Situation at the End of The Situation at the Dawn of
Structure in Early the Nineteenth Century the Twenty-First Century —Jay Grymes, Univer-
Eighteenth-Century Beethoven’s Influence on
Nineteenth-Century Music 22. The Arrival of the Appendix: Timeline sity of North Carolina-
Instrumental Music
Early Nineteenth-Century Twentieth Century Index
Developments in Italian Opera
A Turning Point in Artistic

Instrumental Music * For a complete Table of
Opera in France Ideas and Styles Contents, please visit www.
17. The Enlightenment and
the Classic Style German Romantic Opera Impressionism
The Enlightenment The Social Context for The Aesthetics of Ugliness October 2009 544 pp.
Music in the Nineteenth cloth APS SEAIS3
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Bonds A History of Music in Western Culture, 3E Pearson 696 pp. $84.00
Burkholder A History of Western Music, 8E Norton 986 pp. $84.00
Wright Music in Western Civilization Schirmer 864 pp. $104.33
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The ONLY film music history text that looks at sound and
dialogue—as well as scores!

Hearing the Movies

Music a nd Sound in Film History
James Buhler a nd Dav id Neumeyer, both at Universit y of Texas at Austin, a nd
Rob Deemer, State Universit y of New York at Fredonia

I n this text for introductory film music courses, the au-

thors bring music into the context of sound, and sound
into the context of the whole film. The text’s functional
• B
 rings together the broadest range of scholarship on
film music currently available
approach to surveying film music teaches students critical
• I ncludes copious examples from a range of easily
listening skills that can be applied to sound and music accessible films, as well as “Additional Films and
“This text does not iso-
in all visual media. By offering easily accessible sample Scenes to Study” sections with exact timings
late music as a separate
analyses of sound and music in relation to the image track • P
 rogressively introduces, defines, and illustrates
component of the film
at the level of the scene, the text illustrates how to analyze concepts
experience, but instead
a sound track and its music. It also provides a historical • D
 raws students into the material with screen stills
asks students to consider and sidebars with commentary
narrative of sound and music in film genres and film his-
music in the context of the
tory as well as a look at the technical side of contemporary
whole soundtrack, that is,
music and sound production.
in conjunction with sound
effects and dialogue. For a
textbook this is a novel and c o n t e n t s*
wonderful approach and Preface Chapter 6. Music in Main-Title and Chapter 13. The Stereo Sound Track
it constitutes what I think End-Credit Sequences and the Post-Classical Era (1950–
is the real strength of the Chapter 7. Music in Performance and
Part I: The Sound Track and
Montage Scenes Chapter 14. The New Hollywood,
book.”—Julie Hubbert, Film Narrative: Basic Terms
Dolby Stereo, and the Emergence of
and Concepts Chapter 8. Film Style and the Sound
Sound Design (1975–2000)
University of South Carolina Chapter 1. The Sound Track and
Chapter 15. Music and Film Sound
Narrative Chapter 9. Music in Character and
Action Scenes
Chapter 2. The Musicality of the Sound
 SU PPORT Track: Concepts and Terminology Interlude: Writing About Film Music:
Interpretation Glossary
PA C K A G E Chapter 3. Music, Sound, and the
Space of Narrative: Concepts and Part III: The Sound Track: Credits
Includes an end-of-book Terminology A Technological History
glossary and an Instruc- Chapter 4. Music, Sound, and Time Chapter 10. Music and Sound in the
tor’s Manual on CD Interlude: Writing About Film Sound:
Silent Era (1895–1929)
offering additional ex- * For a complete Table of Contents, please
Analysis and Description Chapter 11. The Transition to Sound visit
amples with screen stills, Part II: Music, Film Form,
Film (1926–1932)
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Tuning In

A mer ic a n Nar r ativ e Television Music

Ron Rodman, Carleton College

D rawing on music in a wide variety of television genres—from westerns to science-

fiction thrillers to police dramas to sitcoms and commercials—author Ron Rod-
man develops a new theory of television music to explain how it conveys meaning to
American viewing audiences.
November 2009 368 pp. cloth APS RODTUN 978-0-19-534025-9 $21.95
Keeping Time
R eadings in Ja zz History
Edited by Robert Walser, UCL A

“An impressive achievement. The introductions to the

excerpts alone provide a fascinating mini-history of jazz
that ranges through a wider variety of topics than many
D rawing from contemporary journalism, reviews,
program notes, memoirs, interviews, and other
sources, Keeping Time brings to life the controversies
full-scale histories.”—Gary Tomlinson, University of and critical issues that have accompanied every moment
Pennsylvania of jazz history.

c o n t e n t s
Preface 13. “The Negro Artist and 27. “From Somewhere in 42. Louis Armstrong on
the Racial Mountain,” France,” Charles Delauney Music and Politics
Langston Hughes
First Accounts 28. Johnny Otis Remembers The Sixties
14. A Black Journalist Lester Young 55. “‘It Jus’ Be’s Dat Way
43. Critical Reception of Sometime’: The Sexual
1. Sidney Bechet’s Musical Criticizes Jazz, Dave Peyton
29. “A People’s Music,” Free Jazz Politics of Women’s Blues,”
15. “The Caucasian Storms Sidney Finkelstein Hazel V. Carby
44. “Jazz and the White
2. “Whence Comes Jass?”, Harlem,” Rudolf Fisher
30. “Bop is Nowhere,” Critic,” LeRoi Jones 56. Miles Davis Speaks His
Walter Kingsley
16. The Appeal of Jazz D. Leon Wolff, Louis Mind
45. A Jazz Summit Meeting,
3. The Location of “Jass,” Explained, R.W.S. Mendl Armstrong
Playboy 57. A Music of Survival and
New Orleans Times-
The Thirties 31. “The Cult of Bebop,”
The Seventies Celebration, Christopher
Dizzy Gillespie Small
17. What Is Swing?, Louis
4. A “Serious” Musician 46. Oral Culture and
Armstrong 32. “The Golden Age, Time The Nineties
Takes Jazz Seriously, Musical Tradition,
Past,” Ralph Ellison
Ernest Ansermet 18. Looking Back at “The Ben Sidran 58. Who Listens to Jazz?
Jazz Age,” Alain Locke 33. The Professional
5. “A Negro Explains ‘Jazz’,” 47. Jazz as a Progressive 59. Free Jazz Revisited
Dance Musician and His
James Reese Europe 19. Don Redman: Portrait of Social Force, Leonard
Audience, Howard S. Becker 60. Ring Shout, Signifyin(g),
a Bandleader, Roi Ottley Feather
6. “Jazzing Away Prejudice,”
Chicago Defender 20. Defining “Hot Jazz,”
The Fifties 48. Beyond Categories,
and Jazz Analysis, Samuel
A. Floyd, Jr.
Robert Goffin 34. Jazz in the Classroom, Max Roach
7. The “Inventor of Jazz,” 61. Ferociously Harmonizing
Marshall W. Stearns
Jelly Roll Morton 21. An Experience in Jazz 49. The Musician’s Heroic with Reality, Keith Jarrett
History, John Hammond 35. A Jazz “Masterpiece,” Craft, Albert Murray
The Twenties André Hodeir 62. Constructing the Jazz
22. On the Road with Count 50. Creative Muisc and the Tradition, Scott DeVeaux
8. Jazzing Around the Globe,
Basie, Billie Holiday 36. “Sonny Rollins and the AACM, Leo Smith
Burnet Hershey Editing Notes
Challenge of Thematic
9. “Does Jazz Put the Sin in
23. Jazz at Carnegie Hall,
Improvisation,” Gunther
The Eighties
James Dugan and John Select Bibliography
Syncopation?”, Anne Shaw Schuller 51. “America’s Classical

Hammond Index
Faulkner Music,” Billy Taylor
37. “Beneath the Underdog,”
24. Duke Ellington Explains
10. Jazz and African Music, Charles Mingus 52. “A Rare National 1998 464 pp. paper
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Whiteman), Hugh C. Ernst 40. America’s “Secret Sonic
26. “Red Music,” Josef Cultural Hierarchy,
12. “The Jazz Problem,” Skvorecky Wynton Marsalis and Herbie
The Etude 41. “The White Negro,” Hancock

Norman Mailer

A History in Documents

Piero W eiss, Johns Hopkins Universit y

I n this text, Piero Weiss presents

a wide-ranging, vivid, and care-
fully researched tour of operatic his-
public decrees, descriptions of first
performances, portions of libretti, lit-
erary criticism and satire, newspaper
to experience the history of opera as
eyewitnesses, offering an immediacy
and validity unmatched by standard
tory. A unique anthology of primary reviews and articles, and poetry and histories.
source material, this survey includes fiction—from opera’s late Renaissance
115 chronologically organized selec- infancy through modern times. This 2002 352 pp. paper APS WEISS
tions—passages from private letters, firsthand testimony allows students 978-0-19-511638-0 $39.95
Music Research
A H a ndbook
L aurie Sampsel , Universit y of Colorado at Boulder

C oncise and practical, Music

Research introduces music stu-
dents to the major print and electron-
titles in major areas, and the principal
sources in French, German, Italian,
and Spanish.
core music journals and major profes-
sional music associations.

Ideal for graduate-level music bibli-

ic research tools available to them.
The text is supplemented by a com- ography and research courses, it can
This unique handbook does not aim
prehensive companion website, also be used in any undergraduate or
to provide an exhaustive introduc-
(, graduate music course that requires
tion to the subject; rather, it is highly
which includes supplemental links, students to engage in library research
selective and guides students to the
updates to available bibliographies or to write a research paper.
most significant English-language re-
and readings by chapter, research
search tools and resources, reference
tools listed by composer, and lists of

c o n t e n t s*
Chapters 1–16 end with Suggested Chapter 7: Indexes to Music in Chapter 16: Style Manuals and Citation
Readings. Chapters 1–14 also include Composer’s Complete Works, of Sources
Evaluation Checklists. Historical Sets & Musical
Monuments, and Anthologies
A: Library of Congress Class M
Chapter 8: Finding and Using Thematic
List of Abbreviations
Catalogs B: Searching Tips
Part One: Research Tools
Chapter 9: Music Histories, Source C: Twenty-Five Composers Included as
Chapter 1: Guides to the Research Readings, and Chronologies Examples in this Text
Process and Research Tools
Chapter 10: Bibliographies of Music D: Chicago Manual of Style at Your
Chapter 2: Comprehensive Music and Music Literature Fingertips
Encyclopedias and Dictionaries
Chapter 11: Discographies E: American Psychological Association
Chapter 3: Special Encyclopedias and Style at Your Fingertips
Chapter 12: Music Iconographies
F: Modern Language Association Style
Chapter 13: Music Directories
Chapter 4: Finding Music Materials in at Your Fingertips

Library Catalogs Chapter 14: Internet Resources for

Chapter 5: Periodical Indexes for Music
Part Two: Writing, Style
Chapter 6: Indexes to Music
Manuals, and Citation * For a complete Table of Contents, please
Dissertations, Theses, Conference
Papers, and Festschriften Chapter 15: Writing
2008 352 pp. cloth APS SAMPSE
978-0-19-517119-8 $39.95


Music in Words
A Guide to R esearching a nd Wr iting
A bout Music
Trevor Herbert, Open Universit y

A compact guide to researching and writing about music, Music in Words

addresses all the issues that anyone who writes about music—from students to

professional musicians and critics—may confront when putting together anything

from brief program notes to a lengthy thesis.
2009 256 pp. paper APS HERMUS 978-0-19-537373-8 $19.95
Modal Counterpoint
R enaissa nce St yle
Second Edition
Peter Schubert, McGill Universit y

A n exceptional text for undergraduate and graduate music students, Modal

Counterpoint uses a wide variety of carefully graded exercises to present
guidelines for writing and analyzing 16th-century music. The only species
“There is no other textbook
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ranks among the best music
as it teaches them general structural principles.
theory textbooks of the past
ten years.”—Anton Vishio,
New York University
“This is one of the most
• I ntegrates improvisation activities and new repertoire examples into
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• R
 evises the chapter on three-part writing (Chapter 14) so that it pays area of music I have used in
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• R
 eworks the chapters on cadences (Chapter 10) and on writing two teaching. It is also remark-
parts in mixed values (Chapter 11) to make them more accessible to ably well edited. Its format is
students both instructor- and student-
• Incorporates clarified instructions throughout friendly. This is a book of
• Includes a summary of rules inspired musicality, pragmatic
pedagogy, scholarship, and
wit.”—Jeff Perry, Louisiana
State University

c o n t e n t s*


Preface 9. Motivic Variation Appendices
Note to the Student 10. Cadence Formulas in Two Voices 1. Text Setting
Note to the Instructor 11. Two Parts in Mixed Values 2. Canon Against a CF
Introduction: Renaissance Musical 12. The Imitative Duo 3. Solmization
Style and Notation 4. Sample Motive Placements
13. Invertible Counterpoint
1. Mode 5. The Invertible Duo
14. Three Parts
2. Introduction to Two-Part Species Bibliography
15. Three Parts in Mixed Values
Counterpoint Index
16. The Three-Voice Invertible Canon
3. First Species * For a complete Table of Contents, please
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Classical Form
A Theory of For m al Functions for the Instrumental Music
of H aydn, Moz art, a nd Beethoven
W illiam E . C aplin, McGill Universit y

B uilding 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.

c o n t e n t s
Introduction 7. Small Binary 14. Slow-Movement Forms
Part I. Preliminaries Part III. Looser Formal 15. Minuet/Trio Form
1. Some Basic Formal Functions: 16. Rondo Forms
An Overview 8. Subordinate Theme
17. Concerto Form
2. Fundamental Progressions of 9. Transition
Glossary of Terms
“This book is an important Harmony
10. Development
and impressive statement Part II. Tight-Knit Themes
11. Recapitulation
that no theorist or musicol- 3. Sentence
12. Coda
Index of Classical Compositions
ogist can afford to ignore.” 4. Period
Part IV. Full-Movement
General Index
—Music Theory Spectrum 5. Hybrid Themes and Compound Forms
Themes 2000 320 pp. paper APS CAPFOR
13. Sonata Form
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Engaging Music
Essays in Music A nalysis
Edited by Deborah Stein, New England Conservatory of Music

T he first collection of its kind, Engaging Music includes an introduction and twenty-one selections by highly
esteemed contemporary music theorists, sixteen of which were written especially for this volume.

c o n t e n t s
Preface 8. Attacking a Brahms Puzzle, 17. Playing with Forms: Mozart’s
Edward T. Cone Rondo in D Major, K. 485,
Introduction to Writing Analytical
William Rothstein
Essays, William Marvin PART II. MODEL ESSAYS: TEXT
ANALYTICAL TOPICS AND 9. Figaro’s Mistakes, David B. Lewin 18. Two Post-Tonal Analyses, Webern,

TECHNIQUES “Wie bin ich froh!” from Three Songs,

10. Motive and Text in Four Schubert
Op. 25; Schoenberg, “Nacht,” from
Rhythm, Meter, and Phrase Songs, Carl Schachter
Pierrot Lunaire, Op. 21, Joseph N.
1. The Phrase Rhythm of Chopin’s 11. Isolde’s Transfiguration in Words Straus
A-flat Mazurka, Op. 59, No. 2, and Music, Patrick McCreless
19. “This music crept by me upon
Charles Burkhart
12. Meaning in a Popular Song: the waters”: Introverted Motives
2. Hypermeter and Hypermetric The Representation of Masochistic in Beethoven’s “Tempest” Sonata,
Irregularity in the Songs of Josephine Desire in Sarah McLachlan’s “Ice,” Richard Cohn
Lang, Harald Krebs Lori Burns
20. “Rounding Up the Usual
Pitch 13. In Search of Purcell’s Dido, Suspects?”: The Enigmatic Narrative
Janet Schmalfeldt of Chopin’s C-sharp Minor Prelude,
3. Schenker’s Conception of Musical
Structure, Allen Forte PART III. MODEL ESSAYS: Charles J. Smith

4. “Learn to Draw Bob Hope!” Mort
Drucker, Arnold Schoenberg, and Performance and Analysis 21. Texture and Timbre in Barbara
Twelve-Tone Music, Andrew Mead Kolb’s Millefoglie for Chamber
14. The Presto from Bach’s G Minor
Form Sonata for Violin Solo: Style, Orchestra and Computer Generated
Rhythm, and Form in a Baroque Tape, Judith Lochhead
5. Analyzing the Unity within
Moto Perpetuo, Joel Lester Scores
Contrast: Chic Corea’s “Starlight,”
Ramon Satyendra 15. Dramatic Progression in Haydn, Glossary
Sonata No. 46 in A-flat, Adagio,
6. Form in Rock Music: A Primer, Selected Bibliography
Marion A. Guck
John Covach
Musical Ambiguity
16. Formal and Expressive 2004 368 pp. cloth APS STEMUS
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Intensification in Shostakovich’s
Deborah Stein
String Quartet No. 8, Second
Movement, Roger Graybill
The ONLY text that introduces sound before theory

From Sound to Symbol

Funda mentals of Music
Míche á l Houlahan a nd Phillip Tacka, both at Millersville Universit y of

W ith this text/workbook designed for one-semester music fundamentals courses for non-majors, students
will learn the rudiments of music theory as they methodically explore music as listeners, performers, critical
thinkers, and composers.

“I have used From Sound to Symbol for two semesters, and liked it very SU PPORT
much, and began using it because it uses short tunes that students can PA C K A G E
sing and clap easily, helping them to learn musical concepts more easily • I n-text audio CD that fea- “The Instructor’s Manual
and thoroughly.”—Andrew Carpenter, University of Illinois, Chicago tures all the focal melodies in is excellent and shows
the text
the wealth of experience
• I n-text CD-ROM that in- that the authors have. It
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and dictation exercises useful—even for the expe-
• Takes a sound-to-symbol approach in which concepts are initially
• I n-text fold-out laminated rienced theory teacher.”
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of how symbols are used to represent the sound keyboard —Nico Schuler, Texas
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are simple, memorable, and easy to sing or play dictation exercises for each
• O
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c o n t e n t s*
Preface Chapter 6. Intervals Chapter 12. An Introduction to
Harmonic Progressions
Explanation of Icons and Terms Chapter 7. Orientation to the Minor
Scale: Minor Pentachord and Minor Glossary
Chapter 1. Rhythm 1: Basic Rhythms
Hexachord Scales and Melodies
in Simple Meter Index
Chapter 8. The Minor Scale: Natural
Chapter 2. The Keyboard and Notation Audio CD Track List

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Progressive Sight Singing

C arol K rueger, Universit y of South Carolina

I deal for undergraduate courses

in ear training and sight singing,
Progressive Sight Singing introduces
 rains the ear first through
• T • E
 ncourages students to actively
students to the underlying gram- hearing and imitating patterns participate (sing, chant, write,
• Adds only one new element create, and improvise) in the
mar and syntax of musical structure practice of each concept in or-
per chapter and incorporates
and prepares them to perceive that der to become skilled musicians
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structure with both the ear and the ters into examples and exercises, • O
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PA C K A G E students learn musical skills in much learned skills whatever tonal and reading sys-
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skills, this book employs a unique
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duced in the book; this
connects the eye to the ear the concept of sound before sight. diation, musical memory, and
and helps students hone error detection
their aural skills
• A
 n Instructor’s Manual
expands upon the peda- c o n t e n t s*
gogy underlying the book, Preface to the Instructor 13. Half Note = Beat Unit 11. i and V7 in Minor Mode; Other
offers solutions to the ex- Rhythms in Simple Meters
Preface to the Student 14. Simple Meter—Eighth Note = Beat
ercises, and provides ad- Unit 12. I and V7 in Major and Minor
ditional exercises and An Introduction to the Music Literacy
Modes; Half Note = Beat Unit
Process 15. Compound Meter—More Rhythms
teaching tips 13. I and V7 in Major and Minor
Strategies for Successful Sight Singing 16. Cross Rhythms and Hemiola
Modes; Eighth Note = Beat Unit
Building Musicianship and Independence 17. Asymmetrical Meters

14. I and V7 in Major and Minor;

Part I. Rhythmic Reading 18. Mixed Meters Compound Meters—More Rhythms
1. Simple Meter—Quarter Note = Beat Part II. Melodic Reading 15. I, ii, IV, and V7 in Major Mode;
Unit; Undivided Beat Simple and Compound Meters
1. Tonic Pentachord in Major Mode;
2. Simple Meter—Quarter Note = Beat Simple Meters, Undivided Beat 16. i, iv, and V7 in Minor Mode; Simple
Unit; Divided Beat and Compound Meters
2. Diatonic Steps and Tonic Triad
3. Simple Meter—Quarter Note = Beat in the Major Scale; Simple Meters, 17. Chromatic Alterations; Simple and
Unit; Slur, Tie, and Extension Dot Undivided Beat Compound Meters
4. Terms and Symbols 3. Diatonic Steps and Tonic Triad in 18. Modes
the Natural Minor Scale; Simple
5. Compound Meter—Dotted Quarter Appendix A. Rhythm Reading
Meters, Undivided Beat
= Beat Unit; Divided Beats Systems
4. Diatonic Steps and Tonic Triad
6. Simple Meter—Quarter Note = Beat Appendix B. Tonal Reading Systems
in the Major Scale; Simple Meters,
Unit; Borrowed Beat Division
Divided Beat Appendix C. Dictation
7. Simple Meter—Quarter Note = Beat
5. Diatonic Steps and Tonic Triad Appendix D. Conducting Patterns
Unit; Syncopation
in the Major Scale; Simple Meters,
Appendix E. Glossary of Foreign
8. Simple Meter—Quarter Note = Beat Dotted Quarter Notes
Unit; Subdivided Beats
6. Natural, Harmonic, and Melodic
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Analysis of Tonal Music
A Schenk er i a n A pproach
Second Edition
A llen C adwallader, Oberlin College Conservatory of Music, a nd Dav id G agné ,
Queens College a nd The Graduate Center, Cit y Universit y of New York

D esigned as an introduction for upper-level undergraduates and beginning graduate students, this book explains
the structural principles of Schenkerian analysis in actual composition rather than through models and formulas.
It teaches students how to think about and critically examine compositions in ways that will inform their understand-
ing and performance of great compositions of Western art music. The text includes more than 200 analytical graphs,
musical examples, and a bibliography.

c o n t e n t s*
Preface 7. Some Basic Elaborations of Notes
Fundamental Structures
Part 1. Basic Principles Selected Bibliography
Part 2. Analytic FE AT U R E S
1. Introduction Index of Musical Examples
Applications • A
 ccompanied by a
2. Melody and Counterpoint Subject Index Student Workbook
8. One-Part Forms
3. Bass Lines and Harmonic Structure * For a complete Table of Contents, please (see below)
9. Binary Forms visit
4. Linear Techniques
10. Ternary Forms and Rondo • I ncludes a primer on
5. Tonal Structure 2006 416 pp. cloth APS CADAN2 graphic notation (as
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an appendix)
12. Some Common Tonal Patterns
• P
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Student Workbook to Accompany Analysis of mon middle ground
plans underlying Ba-

Tonal Music: A Schenkerian Approach, Second Edition roque binary move-


A llen C adwallader, Oberlin College Conservatory of Music, a nd Dav id G agné , • O

 ffers suggestions
for further analysis
Queens College and The Graduate Center, Cit y Universit y of New York
at chapter ends and

T his accompanying Student Workbook contains thirty-four exercises designed to serve as class and homework refers students to ap-
propriate workbook
assignments for an introductory course in Schenkerian Analysis. Most assignments consist of instructions, exercises
scores, and worksheets, and also include hints, instructions, and guiding questions.

c o n t e n t s Package
the text and

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Assignment 17: Mozart,
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Theme and Variation 5 Assignment 27: Handel,
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Assignment 2: Folk Tune: (“Raindrop”)
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Sonata, K. 280, III Assignment 20: Beethoven,
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Assignment 11: C. P. E. Bach, Piano Sonata, Op. 13 Quartet, Op. 74, No. 3, II
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55, No. 1 “Prussian” Sonata, Vivace (“Pathetique”)
Assignment 29: Handel,
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813, Minuet

(“Jupiter”), K. 551, I Assignment 30: Mozart,

Part 2. Bass Assignment 13: Bach,
Lines, Harmonic Part 5. Analytical Clarinet Quintet, K. 581, III
Harpsichord Concerto (after (Trio I)
Structure, and Marcello), BWV 974, II Applications:
the Imaginary Lower-Level Assignment 31: Haydn, String
Assignment 14: Vivaldi, Fundamental Quartet, Op. 74, No. 3, II
Continuo Gloria, RV 589, I Structures and Assignment 32: Beethoven,
Assignment 5: Mozart, Assignment 15: Bach, Fugue Complete Pieces Piano Sonata, Op. 7, II
Piano Sonata, K. 457, III in G Major for Organ
(Allegro assai) (“Jig”), BWV 577 Assignment 22: Beethoven, Assignment 33: Mozart, Piano
Piano Sonata, Op. 10, No. Sonata, K. 279, Andante
Assignment 6: Chopin, Valse Assignment 16: Bach, Prelude 1, I
Brillante, Op. 34, No. 2 in F Major, BWV 927 Assignment 34: Clementi,
Assignment 23: Beethoven, Sonatina, Op. 36, No. 3, I
Assignment 7: Beethoven, Part 4. Techniques Piano Sonata, Op. 31, No.
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The ONLY music theory review written
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Graduate Review of Tonal Theory
A R ecasting of Common-Pr actice H ar mony, For m, a nd
Counter point
Stev en G. L aitz , Eastman School of Music, a nd Christopher Bartlette ,
Baylor Universit y

B ased on The Complete Musician (pp. 30–31), this

text goes beyond the undergraduate level to address
students as colleagues and explores analytical applications
•  Pulls together the essential concepts of music theory
and pieces from the repertoire that expand upon
that are appealing and practical. The text provides a means and refine the analytical applications taught in the
to discuss the perception and cognition, the analysis and undergraduate theory curriculum
“The exercises in the performance, and the composition and reception of com- •  Innovative, chapter-ending “Analytical Extensions”
accompanying workbook mon-practice tonal music. Each chapter ends with two- to introduce one new topic through model analysis
are inspirationally clever three-page “Analytical Extensions,” which introduce one •  Accompanying
 workbook (978-0-19-537699-9)
. . . . I like the wide variety new topic through one or two works from the repertoire, (and included DVD) is organized by chapter into
of ‘real music’ examples as discrete assignments (3–5 per chapter), each pro-
and then develop the topic in a model analysis. Appendixes gressing from short, introductory analytical and
well and I suspect my grad include keyboard exercises, model composition strategies writing exercises to more-involved tasks
students would be equally and assignments, and sample solutions.
appreciative. . . . I like the
summaries, point-by-point
reminders, and suggestions c o n t e n t s
about matters such as how Preface 3. M aking Choices: When Tonic Expansion with Arpeggiating Bass:
to figure a bass or how to H armony, Melody, and IV6
Setting the Stage
R hythm Converge Contrapuntal Expansions with Seventh
write a sequence. Students PART I. CONTEXTUALIZING Chords
THEORY AND ANALYSIS: Tonal Hierarchy in Music
will find such lists to be FUNDAMENTALS V7 and its Inversions
Tones of Figuration
both very clear and very 1. Musical Time and Space Melodic Fluency Voice-Leading Inversions of V7
comforting.” Leading Tone Seventh Chords: vii° 7
—Neil Minturn, FUNCTIONS, EXPANSIONS, AND Analytical Extension: Invertible
Accent in Music Counterpoint
University of Missouri Temporal Accents Invertible Counterpoint below the Music’s
4. Composition and A nalysis: Surface
Nontemporal Accents Using I, V, and V 7
Metrical Disturbance Tonic and Dominant as Tonal Pillars 6. The Pre-Dominant,
The Pitch Realm and Introduction to Voice Leading the Phrase Model , and
A dditional Embellishments
Pitches and Pitch Classes The Cadence

The Pre-Dominant Function

Scales Introduction to Voice Leading
The Subdominant (IV in Major, iv in
Keys Texture and Register Minor)
Intervals Spacing The Supertonic (ii in Major, ii° in Minor)
Consonance and Dissonance Summary of Voice-Leading Rules and Part Writing Pre-Dominants
Melody: Characteristics and Writing Extending the Pre-Dominant
The Dominant Seventh and Chordal
2. H arnessing Musical Time Dissonance Introduction to the Phrase Model
and Space
Part Writing with the Dominant Seventh Accented and Chromatic Dissonances
Accented Passing Tone ( >p)
Species Counterpoint Chord
First-Species (1:1) Counterpoint Analytical Extension: The Interaction Chromatic Passing Tone

Accented Neighbor Tone (n> )

Contrapuntal Motions of Harmony, Melody, Meter, and
Rules and Guidelines for First-Species
Counterpoint Embellishment Chromatic Neighbor Tone
Second-Species (2:1) Counterpoint Reduction Appoggiatura (AAP)
Rules and Guidelines for Second-Species Second-Level Analysis Suspension (S)
Counterpoint 5. Contrapuntal E xpansions Labeling Suspensions
Adding Voices: Triads and Seventh of Tonic and Dominant Writing Suspensions
Chords Contrapuntal Expansions with First- Anticipation (ANT)
Triads Inversion Triads
Pedal (PED)
Figured Bass Chordal Leaps in the Bass: I6 and V6
Analytical Extension: Revisiting the
Triads and the Scale: Harmonic Analysis Neighboring Tones in the Bass: V6 Subdominant
Seventh Chords Structural and Subordinate Harmonies Contrapuntal Expansion with IV
Musical Texture Passing Tones in the Bass: vii°6 and IV6 Plagal Cadence
a Pivot Chord
11. A pplied Chords and Analytical Extension:
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Applied Leading-Tone Chords Ternary Form
Accented Six-Four Chords
Extended Tonicization Transitions and Retransitions
Writing Six-Four Chords
Summary of Contrapuntal Expansions
Analytical Extension: Sequences with
Applied Chords
Da Capo Form: Compound Ternary
Includes a
Nondominant Seventh Chords: IV
(IV 65) and ii7 (ii65)
The (–5/+4) Sequence Minuet-Trio Form FREE in-text
The (–4/+2) Sequence Sonata Form
Part Writing Nondominant Seventh
Chords The (–3/+4) Sequence The Binary Model for Sonata Form
Embedding the Phrase Model 12. Modulation and Binary Transition
Analytical Extension: Expanding the
Form Closing Section
Pre-Dominant Modulation
Development and Retransition
8. The Submediant and Mediant Closely Related Keys
Recapitulation and Coda
H armonies Analyzing Modulations
Analytical Extension: Motivic
The Submediant (vi in Major, VI in Writing Modulations Expansion
Modulation in the Larger Musical Exposition
The Submediant as Bridge in the Context
Descending-Thirds Progression Development
The Sequence as a Tool in Modulation
The Submediant as Bridge in the A ppendix A: A dditional Formal
Descending Circle-of-Fifths Progression Binary Form Procedures
The Submediant as Tonic Substitute in Balanced Binary Form Subphrases and Composite Phrases
the Ascending-Seconds Progression Summary of Binary Form Types Variation Techniques
The Submediant as the Pre-Dominant Analytical Extension: Binary Form in
Baroque Dance Suites
Continuous Variations Student Workbook
Voice Leading for the Submediant
The Step Descent in the Bass 13. E xpressive Chromaticism:
Sectional Variations to Accompany
Ternary Form and the Nineteenth-
Mediant (iii in Major, III in Minor)
Modal Mixture and
Chromatic Modulation Century Character Piece Graduate Review of
A Special Case: Preparing the III Chord
in Minor Modal Mixture
Rondo Tonal Theory
The Classical Rondo
Voice Leading for the Mediant Altered Pre-Dominant Harmonies: iv The authors have devised
and ii° Five-Part Rondo
General Summary of Harmonic sixty-one diverse exercise sets
Progression Altered Submediant Harmony: bV I Coda, Transitions, and Retransitions
that correlate with material in
Analytical Extension: The Back- Altered Tonic Harmony: i Compound Rondo Form the text. These assignments in-
Relating Dominant Altered Mediant Harmony: bIII Seven-Part Rondo clude writing and analytical
9. The Period, the Double Voice Leading for Mixture Harmonies Further Characteristics of Sonata Form exercises that enable students
Period, and the Sentence Plagal Motions Monothematic Sonata Form to further integrate harmony
The Period Modal Mixture, Applied Chords, and The Slow Introduction and counterpoint through
Types of Periods Other Chromatic Harmonies
Other Tonal Strategies visual and aural tasks. There
Period Labels Expansion of Modal Mixture is also a separate section of
A ppendix B: Glossary of

Harmonies: Chromatic Modulation keyboard activities at the end
The Double Period A bbreviations
Chromatic Pivot-Chord Modulations of the workbook. Visit www.
The Sentence A ppendix C: Terminological
Writing Chromatic Pivot-Chord Equivalents to view a full
Analytical Extension: Modified Periods Modulations list of workbook exercises.
10. H armonic Sequences: Unprepared and Common-Tone A ppendix D: Listing of DVD
Concepts and Patterns Text and Workbook E xamples 2009 288 pp. paper
Chromatic Modulations
Index of Terms and Concepts 978-0-19-537699-9 $34.95
Components and Types of Sequences Analytical Extension: Modal Mixture
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The Ascending-Fifths Sequence (+5/–4)
Writing the Neapolitan Chord
The Ascending 5–6 Sequence (–3/+4)
Other Uses for the Neapolitan Chord
Sequences with Diatonic Seventh
Chords The Augmented Sixth Chord
Writing Sequences Types of Augmented Sixth Chords
Analytical Extension: Melodic Writing Augmented Sixth Chords
Sequences and Compound Melody bV I and the Ger65 Chord
A comprehensive text that motivates students to learn theory
by integrating skills and focusing on musicality

The Complete Musician

A n Integr ated A pproach to Tonal Theory, A nalysis,
a nd Listening
Second Edition
Stev en G. L aitz , Eastman School of Music

“The Complete Musician is the most comprehen- FE AT U R E S

sive and clearly-written text on common practice • F
 ully revised throughout, providing more explana-
harmony and voice-leading. I would recommend tory materials on the fundamentals, more summary
it both as a text and as a reference work to which charts and step-by-step diagrams, and more practice
Includes two musicians could return time and again for examples
FREE in-text and advice. It integrates aural skills and compo-
• N
 umerous analyses throughout the book, including
thirteen “Model Analysis” sections, which provide
DVDs of music sitional exercises with the text in a pragmatic yet extended analyses of canonical pieces
and exercises! exciting way.”—Amy Bauer, University of California, • O
 utstanding quality, quantity, and diversity of ex-
Irvine ercises, keyed by skill area (performing, listening,
writing, analysis, and keyboard) and geared toward
real music and real music situations
B ringing together the analytical, aural, and tactile
activities that comprise a tonal theory curriculum,
The Complete Musician, Second Edition, relies on a diverse
• P
 rogresses from simple melody to a combination of
two melodies as counterpoint, which is the frame-
work for all harmonic concepts developed in the
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• A
 lmost 4,000 musical examples from the common-
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Volume 1 practice repertoire are included in the text and work-
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ing of music theory at the undergraduate level by focusing
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c o n t e n t s*
Part 1: The Foundation of 13. Accented and Chromatic Part 7: Expressive
Tonal Music Dissonances Chromaticism
1. The Pitch Realm: Tonality, 14. Six-Four Chords and Revisiting IV 27. Modal Mixture
Notation, and Scales 15. Invertible Counterpoint, 28. Expansion of Modal Mixture
2. Pulse, Rhythm, and Meter Compound Melody, and Implied Harmonies: Chromatic Modulation
Harmonies and the German Lied
3. Intervals and Melody
16. The Motive 29. The Neapolitan Chord ( bII)
4. Controlling Consonance and
Dissonance: Introduction to Two- Part 4: New Chords 30. The Augmented Sixth Chord
Voice Counterpoint Complete the Diatonic
Part 8: Large Forms:
5. Triads, Inversions, Figured Bass, Spectrum
Ternary, Rondo, Sonata
and Harmonic Analysis 17. The Phrase Model Refined:
Perceptions, Animation, and 31. Ternary Form
6. Seventh Chords, Musical Texture,
and Harmonic Analysis Expansion 32. Rondo
Part 2: Merging Melody 18. The Submediant: A New Diatonic 33. Sonata Form
Harmony, and Further Extensions of
and Harmony the Phrase Model Part 9: Introduction to
7. Hierarchy in Music: Consonance, Nineteenth-Century
19. The Mediant, the Back-Relating
Unaccented Dissonance, and Dominant, and a Synthesis of Harmony: The Shift from
Melodic Fluency Diatonic Harmonic Relationships Asymmetry to Symmetry
8. Tonic and Dominant as Tonal 34. New Harmonic Tendencies
Pillars and Introduction to Voice Part 5: Creating Larger
Leading Forms 35. The Rise of Symmetrical Harmony
in Tonal Music
9. The Impact of Melody, Rhythm, 20. The Period
and Meter on Harmony, and 36. Melodic and Harmonic Symmetry
21. Other Small Musical Structures: Combine: Chromatic Sequences
Introduction to V7 Sentences, Double Periods, and
10. Contrapuntal Expansions of Tonic Asymmetrical Periods 37. At Tonality’s Edge
and Dominant: Six-Three Chords 22. Harmonic Sequences: Concepts Index of Terms and Concepts
11. More Contrapuntal Expansions: and Patterns Index of Musical Examples and
Inversions of V7, and Introduction to 23. Sequences within Larger Musical Exercises
Leading Tone Seventh Chords Contexts and Sequences with * For a complete Table of Contents,
Part 3: A New Harmonic Seventh Chords please visit
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classes.”—Robert Young
McMahan, The College of
Questions for Analysis 2) Dominant Triad in Root
Notes Position
1. HAYDN, Sonatina in G Major, Hob.
New Jersey * = New to this edition XVI: 8 Questions for Analysis
 = Included on CD  2. CZERNY, Sonatina, op. 792, no. 8  10. MOZART, Rondo
Each Part opens with Suggestions for 3. RIMSKY-KORSAKOV, Le Coq d’Or:  11. KUHNAU, Biblical Sonata No. 1:
Discussion Hymn to the Sun Victory Dance and Festival
4. BEETHOVEN, Leonora Overture No.  12. BEETHOVEN, Für Elise
2, op. 72
CD Track List 13. SCHUMANN, Album for the Young,
5. BEETHOVEN, Trio, op. 70, no. 2 op. 68: Reiterstück
6. CHOPIN, Polens Grabgesang, op. 74 14. WEBER, Euryanthe, op. 81: Overture
Suggestions for Using This Book
 7. CHOPIN, Valse (Posthumous) 15. BEETHOVEN, Symphony No. 5,
8. BEETHOVEN, Symphony No. 5, op. 67
1) Tonic Triad 9. COUPERIN, Carnival
3) Dominant Seventh and  52. BEETHOVEN, Six Variations on 93. CORELLI, Sonata for Violin and op. 68
Ninth in Root Position “Nel cor più non mi sento” Continuo, op. 5, no. 9
134. SCHUBERT, Quartet, op. 168,
Questions for Analysis 53. MOZART, Die Zauberflöte, K. 620, 94. SCHUBERT, Quartet in D Major, D. 112
Act II, no. 21 D. 74
 135. MOZART, Sonata, K. 310
Model Analysis 54. CHOPIN, Zwei Leichen 95. BEETHOVEN, Trio, op. 1, no. 3
 16. WEBER, German Dance  96. MOZART, Sonata, K. 283
136. SCHUBERT, Ständchen
55. BEETHOVEN, Trio, op. 121A
 17. MOZART, Sonata, K. 332  97. J. C. F. BACH, Menuet
137. BEETHOVEN, Symphony No. 2,
56. VERDI, Rigoletto, Act II, no. 14 op. 36
18. SCHUBERT, Wiegenlied, op. 98,  57. CHOPIN, Mazurka, op. 33, no. 2 98. TESSIER, Au joli bois je m’en vais  138. BEETHOVEN, Sonata, op. 14,
no. 2 no. 2
19. VERDI, Rigoletto, Act I, no. 2 58. HAYDN, Sonata in E Minor, Hob. 99. STRAUSS, Der Rosenkavalier,
XVI: 34 Act III 139. BEETHOVEN, Symphony No. 6,
 20. HAYDN, Sonata in E Major, Hob.  100. BRAHMS, Romance, op. 118,
op. 68
XVI: 13 8) Inversions of the Dominant no. 5 140. BIZET, Carmen, Act II: Entr’acte
Seventh Chord
21. BEETHOVEN, Symphony No. 4,  101. SCHUMANN, Phantasiestücke, 141. RODGERS, Blue Moon
op. 60 Questions for Analysis op. 12, no. 4, Grillen
22. WEBER, Oberon: Overture  59. J. C. F. BACH, Nun danket alle 102. SCHUBERT, Im Abendroth
14) Leading Tone Seventh
 23. SCHUBERT, Ländler Gott (Posthumous) Chord
 60. HAYDN, Sonata in C Major,
 24. SCHUBERT, Valses Nobles, op. Hob. XVI: 35 103. SCHUBERT, Symphony in C Questions for Analysis
77 Major (“The Great”) 142. DVORAK, Quartet, op. 96
61. PAISIELLO, Le donne sur balcone
25. MOZART, Valse 11) Leading Tone Triad  143. MOZART, Sonata, K. 457
62. MOZART, Quartet, K. 464
4) Subdominant Triad in Root Questions for Analysis  144. SCHUMANN, Carnaval, op. 9:
 63. BEETHOVEN, Sonata, op. 31, Chiarina
Position no. 3 104. TESCHNER, Schatz über alle
Schätze  145. BRAHMS, Ballade, op. 10, no. 4
Questions for Analysis 64. RAMEAU, Sarabande I, vol. I
 26. SCHEIDT, Bergamasca  105. BACH, Aus meines Herzens 146. HANDEL, Sonata for Flute and
65. HAYDN, Trio in C Major, Hob. Grunde Continuo
 27. SCHUMANN, Faschingsschwank XV: 3
 147. HAYDN (?), Allegro
 106. SCHUMANN, Album for the
aus Wien, op. 26, no. 3: Scherzino  66. KUHLAU, Sonatina, op. 20, no. 1 Young, op. 68: Soldatenmarsch
 28. CHOPIN, Mazurka, op. 17, no. 1 148. HAYDN, Trio in G Major, Hob.
67. BEETHOVEN, Symphony No. 2, 107. HANDEL, Courante XV: 25
op. 36
29. BEETHOVEN, Egmont Overture,  108. HAYDN, Sonata in E Major, 149. MOZART, Requiem, K. 626:
op. 84  68. BEETHOVEN, Minuet in C Hob. XVI: 49 Offertorium
30. VERDI, Rigoletto, Act I, no. 7
9) Linear (Embellishing) Six-  109. HAYDN, Sonatina in D Major,  150. HAYDN, Sonatina in G Major,
 31. SCHUBERT, Impromptu, op. 90, Four Chords Hob. XVI: 4 Hob. XVI: 11
no. 4, D. 899  110. MOZART, Sonata, K. 280 151. HANDEL, Judas Maccabaeus,
Questions for Analysis Part III: No. 53, Introduction
32. KERN, Look for the Silver Lining
111. DAQUIN, La Joyeuse
 33. BEETHOVEN, Seven Country 69. BEETHOVEN, Concerto No. 1 for
Piano, op. 15 152. WAGNER, Das Rheinghold,
Dances, no. 7 12) Variant Qualities of Scene 1
 70. SCHUBERT, Valses Diatonic Triads
 34. SCHUBERT, Ländler Sentimentales, op. 50, no. 1, D. 779 153. GLUCK, Orphée, Act I, no. 1
Questions for Analysis
5) Cadential Tonic Six-Four  71. MOZART, Rondo, K. 485 154. HANDEL, Ariaçon Variazioni,
Scalar Variants in Minor Leçon No. 1 98
Chord 72. HAYDN, Quartet, op. 3, no. 5
112. BACH, Herr, ich habe 155. TELEMANN, Fantasia, 1er
Questions for Analysis  73. SCHUBERT, Waltz, op. 9, no. 1, mibgehandelt Dozzina, no. 5
 35. SCHUBERT, Valses D. 365 156. MOZART, Sonata for Violin and
113. PACHELBEL, Chaconne
Sentimentales, op. 50, no. 18  74. KUHLAU, Sonatina, op. 88, no. 3 Piano, K. 306
36. CHOPIN, Mazurka, op. 24, no. 3 114. TELEMANN, Fantasie No. 8
75. MOZART, Symphony No. 35, K. 385 15) Other Diatonic Seventh
115. BYRD, Pavana “The Earle of
37. DONIZETTI, Lucia di  76. BEETHOVEN, Sonatina in G Salisbury” Chords
Lammermoor, Act II, no. 6 Major
38. BEETHOVEN, Trio, op. 97  116. A. SCARLATTI, Folia Questions for Analysis
77. BEETHOVEN, Symphony No. 7,
 117. MATTHESON, Minuet  157. BACH, O Ewigkeit, du
6) Tonic, Subdominant, and op. 92 Donnerwort
Dominant Triads in First 78. MOZART, Symphony No. 41, K.  118. MOZART, Sonata, K. 310
158. MOZART, Rondo. K. 494
Inversion 551
 159. MENDELSSOHN, Kinderstück,

Modal Borrowing
Questions for Analysis  79. HAYDN, Sonata in D Major, op. 72, no. 1
Hob. XVI: 37 119. VERDI, La Traviata, Act I, no. 4
Model Analysis  80. BEETHOVEN, Contradanse 120. DONIZETTI, Linda di 160. PACHELBEL, Fantasie
 39. BACH, Lobt Gott, ihr Christen, Chamounix, “O luce di quest’anima” 161. HANDEL, Sonata for Flute and
allzugleich 81. BUXTEHUDE, Passacaglia Continuo
121. MOZART, Sonata for Violin and
40. MOZART, Bastien und Bastienne, 82. BEETHOVEN, Symphony No. 3, Piano, K. 306 162. HANDEL, Leçon No. 2, Menuet
K. 46B, no. 9 op. 55  122. HAYDN, Sonatina in C Major,
163. TCHAIKOVSKY, Symphony No.
 41. MOZART, Sonata, K. 332 83. GOUNOD, Faust, Act I, no. 6 Hob. XVI: 7 4, op. 36
 42. HAYDN, Sonata in D Major, 84. SULLIVAN, H.M.S. Pinafore, 123. SCHUBERT, Aufenthalt  164. BACH, French Suite in D Minor
Hob. XVI:37 “I’m Called Little Buttercup”
124. SCHUBERT, Der Wanderer
43. MOZART, Abendempfindung, 10) Submediant and Mediant 16) Complete Pieces for
125. BRAHMS, Symphony No. 3, op. 90 A nalysis
K. 523 Triads
126. VERDI, Il Trovatore, Act II, no. 11 Questions for Analysis
44. BEETHOVEN, Symphony No. 5,

Questions for Analysis

op. 67 127. BEETHOVEN, Symphony No. 5,  165. BEETHOVEN, Minuet
 85. CRÜGER, Herzliebster Jesu, op. 67
45. BEETHOVEN, Fidelio, Act I, no. 9 was hast du verbrochen  166. SCHUBERT, Dance
128. BRAHMS, Symphony No. 4, op. 98
 46. MOZART, Sonata, K. 570  86. ANONYMOUS, Dir, dir,  167. SCHUBERT, German Dance, op.
47. MENDELSSOHN, Elijah, op. 70, Jehovah, will ich singen 13) Supertonic Seventh 33, no. 12
no. 29  87. BACH, Schmücke dich, o liebe Chord  168. BEETHOVEN, Scottish Dance
 48. COUPERIN, Le Petit Rien Seele Questions for Analysis 169. PURCELL, Rigadoon
49. DANDRIEU, Les Fifres 88. MOZART, Bastien und Bastienne,  129. ANONYMOUS, Herr, wie du
K. 46B, no. 1 willst, so schick’s mit mir 170. RAMEAU, Minuet
7) Supertonic Triad  89. MOZART, Sonata, K. 545  171. WITT, Passacaglia
130. BACH, Straf ’ mich nicht in
Questions for Analysis 90. HANDEL, Sonata in F for Flute deinem Zorn 172. GRIEG, Norsk
 50. ANONYMOUS, Dir, dir, and Continuo 131. HAYDN, Sonata in A Major, Hob.
Jehovah, will ich singen 91. VERDI, Rigoletto, Act I, no. 1 XVI: 46
 51. SCHUBERT, Waltz, op. 9, no. 3, 92. BRAHMS, Symphony No. 4, op. 98  132. GRIEG, Voegtersang
D. 365 133. BEETHOVEN, Symphony No. 6,
 213. CHOPIN, Mazurka, op. 7, no. 2
PART II: CHROMATIC 255. RODGERS, The Girl Friend 23) Augumented Sixth
MATERIALS  214. HAYDN, Sonata in G Major, 256. BRAHMS, Liebeslieder Walzer, Chords, Other Scale
Hob. XVI: 39 op. 52, no. 4 Degrees as Lowest Note
17) Secondary (A pplied,  215. MOZART, Sonata, K. 282,
Borrowed) Dominants Menuet I 21) Neapolitan Triad Questions for Analysis
Questions for Analysis Questions for Analysis  291. MOZART (?), Adagio
216. SCHUBERT, Quartet, D. 173
Model Analysis  257. MOZART, Concerto in A Major,  292. GRANADOS, Valses Poeticos
Modulation to Relative Major K. 488
173. BEETHOVEN, Trio, op. 1, no. 1 293. SCHUBERT, Symphony No. 8
217. HAYDN, Trio in F Minor, Hob. 258. SCHUBERT, Der Müller und der (“Unfinished”)
174. MOZART, Sonata, K. 281 XV: 26 Bach
 175. SCHUBERT, Impromptu, op.  218. HAYDN, Sonata in E Minor,  259. BACH, Ach Gott, vom Himmel
294. MOUSSORGSKY, Songs and
Dances of Death, no. 4
142, no. 3 Hob. XVI: 34 sieh’ darein
176. HAYDN, Trio in D Major  219. MOZART, Sonata, K. 330  260. BACH, Invention No. 13
295. GLUCK, Orphée, Act I, nos. 6 and 7

 177. BEETHOVEN, Sonatina in G 220. DONIZETTI, Lucia di 24) Augumented Sixth

Lammermoor, Act I, Cavatina 261. VERDI, Il Trovatore, Act II, no. 8 Chords, Other Uses
 262. BRAHMS, Intermezzo in A Questions for Analysis
178. WEBER, Oberon: Overture 221. BRAHMS, Quintet, op. 115 Major, op. 118, no. 2
179. BEETHOVEN, Trio, op. 1, no. 1 222. BEETHOVEN, Symphony No.  263. CHOPIN, Prelude, op. 28, no. 20 Linear
7, op. 92
 180. SCHUMANN, Sonata, op. 118c, 264. BEETHOVEN, String Quartet,
296. VERDI, Rigoletto, Act I: Prelude
Andante 223. HAYDN, Symphony No. 104,
Hob. I: 104 op. 59, no. 2  297. TCHAIKOVSKY, Song Without
181. BEETHOVEN, Symphony No. 1, Words
Modulation to other Closely Related 265. BRAHMS, Wie Melodien zieht es
op. 21 mir, op. 105 298. TCHAIKOVSKY, Romeo and
 182. HANDEL, Suite XI Juliet
 224. HAYDN, Sonatina, Hob. XVI: 1 266. BEETHOVEN, Quartet, op. 18,
183. SCHUMANN, Arabeske, op. 18 no. 3  299. SCHUBERT, Waltz
184. BEETHOVEN, Symphony No.
225. BONONCINI, Deh più a me non
vàscondete 267. SCHUBERT, Mass in E Major:  300. BRAHMS, Intermezzo, op. 76,
4, op. 60 Credo no. 4
185. SCHUMANN, Widmung, op.
226. SAINT-SAËNS, Carneval des
Animaux: Le Cygne 268. BACH, The Well-Tempered  301. TCHAIKOVSKY, The Witch
25, no. 1 Clavier, Vol. II, Fugue 17
 227. BRAHMS, Waltz, op. 39, no. 15  269. CHOPIN, Prelude, op. 28, no. 6
186. SCHUBERT, Symphony No. 8
228. BEETHOVEN, Quartet, op. 18,  302. CHOPIN, Prelude, op. 28, no.
no. 2 22) Augmented Sixth Chords, 22
187. SCHUMANN, Sonata, op.
229. PURCELL, Dido and Aeneas, Act
Submediant Degree as 303. SCHUBERT, Mass in G Major:
118c126, Puppenwiegenlied L owest Note Benedictus
I, scene I
188. SCHUBERT, Quintet (“Die
Forelle”), op. 114, D. 667  230. BACH, French Suite in C Minor Questions for Analysis 304. SCHUBERT, Die Allmacht, op.
79, no. 2
Model Analysis
189. BEETHOVEN, Quintet, op. 29 19) Complete Pieces for Altered Dominants
190. BEETHOVEN, Trio, op. 11 A nalysis II Italian
305. SCHUBERT, Quintet, op. 163
Checklist for Analysis 270. BACH, Ich hab’ mein’ Sach’ Gott
191. VERDI, Rigoletto, Act II, no. 7 heimgestellt  306. LISZT, Liebestraum, no. 3
 231. BACH, Wachet auf, ruft uns die
192. HANDEL, Suite XVI Stimme  271. BEETHOVEN, Bagatelle, op. 307. RIMSKY-KORSAKOV,
 193. BEETHOVEN, Sonata, op. 53  232. BACH, In dulci jubilo
119, no. 1 Snowmaiden, Chanson du Bonhomme
272. BEETHOVEN, Coriolan
194. SCHUBERT, Symphony in C 233. BACH, Christ lag in Todesbanden Overture, op. 62  308. GRIEG, Solvejg’s Lied
Major (“The Great”)
 234. HANDEL, Menuet  273. TCHAIKOVSKY, Mazurka 25) Other Means of
195. BEETHOVEN, Trio, op. 1, no. 3
 235. BEETHOVEN, Sonata, op. 26 274. SCHUBERT, Quartet, op. 168, Modulation
196. SCHUBERT, Mass in E Major:
Benedictus D. 112 Questions for Analysis
236. SCHUMANN, Sonata, op. 118b.,
197. MENDELSSOHN, Midsummer Abendlied 275. BEETHOVEN, Symphony No. Model Analysis
Night’s Dream, op. 61: Wedding  237. BRAHMS, Waltz, op. 39 1, op. 21
March 309. SCHUBERT, Mass in G Major:
 238. HANDEL, Prelude German Gloria
198. VERDI, Rigoletto, Act II, no. 14  276. MOZART, Sonata, K. 457
 239. BEETHOVEN, Sonatina in F 310. BRAHMS, Wenn du nur zuweilen
199. BACH, Christmas Oratorio, no. 4: Major  277. BEETHOVEN, Sonata, op. 109 lächelst, op. 57, no. 2

240. HAYDN, Sonata in G Major, Hob. 278. HAYDN, Trio, Hob. XV: 25 311. BEETHOVEN, Symphony No. 5,
200. HANDEL, Sonata VII for Flute XVI: 27 op. 67
and Continuo  279. BEETHOVEN, Thirty-Two
* 241. GERSHWIN, I Got Rhythm Variations, Var. 30  312. SCHUBERT, Waltz, op. 9, no.
 201. CHOPIN, Mazurka, op. 67, no. 2 14, D. 365
 202. CHOPIN, Valse, op. 69, no. 1 20) Linear (Embellishing) 280. SIBELIUS, Chanson Sans Paroles,
313. MOZART, Die Entführung aus
Diminished Seventh Chords op. 40, no. 2
 203. CHOPIN, Valse Brillante, op. 281. STRAUSS, Der Rosenkavalier, Act I
dem Serail, K. 384, Act III, no. 18
34, no. 3 Questions for Analysis 314. SCHUMANN, Symphony No. 2,
242. HAYDN, Symphony No. 104, French op. 61
204. GERSHWIN, Someone to Watch
Over Me Hob. I: 104, Menuet 282. MENDELSSOHN, Elijah, op. 70, 315. BEETHOVEN, Symphony No. 7,
 205. TCHAIKOVSKY, Morning 243. BEETHOVEN, Symphony No. no. 1 op. 92
Prayer 7, op. 92 283. SCHUBERT, Mass in G Major: 316. HAYDN, String Quartet, op. 76,
244. LISZT, Les Préludes Kyrie no. 6
18) Modulation To Closely  317. BEETHOVEN, Sonata, op. 13
R elated K eys  245. BEETHOVEN, Contradanse 284. BACH, Wer nur den lieben Gott
läßt walten

318. BEETHOVEN, Trio, op. 70, no. 1

Questions for Analysis 246. TCHAIKOVSKY, Symphony No.  285. SCHUBERT, Sonata, op. 42
6, op. 74  319. SCRIABIN, Prelude, op. 13,
Modulation to Dominant 286. VERDI, La Traviata, Act III: no. 3
247. BEETHOVEN, Quartet, op. 18, Prelude
206. MOZART, Symphony No. 39, no. 3 320. J. STRAUSS, Die Fledermaus:
K. 543 287. SCHUBERT, Symphony in C Overture
248. SCHUBERT, Sonata, op. 53
 207. MOZART, Sonata, K. 331 Major (“The Great”)
321. BRAHMS, Wie bist du meine
208. BEETHOVEN, Symphony No.
249. GOUNOD, Faust, Act IV, no. 18  288. GRIEG, Alfedans, op. 12 Königen, op. 32, no. 9
2, op. 36  250. SCHUMANN, Carnaval, op. 9:
Arlequin 289. HERBERT, Gypsy Love Song 322. SCHUBERT, Mass in A Major:
 209. HAYDN, Minuet Agnus Dei
 251. MOZART, Waltz, K. 567 Enharmonic German
210. SCHUBERT, Quartet, D. 173 323. BEETHOVEN, Trio, op. 11
252. WAGNER, Rienzi: Overture 290. SCHUMANN, Dichterliebe,
 211. HAYDN, Sonata in C Minor, op. 48, no. 12: “Am leuchtenden 324. RACHMANINOFF, Melodie, op.
Hob. XVI: 36 253. BELLINI, I Puritani, Act II, scene 3 Sommermorgen” 3, no. 3
212. MOZART, Symphony No. 41, K. 254. HAYDN, Symphony No. 104, 325. SCHUBERT, Symphony No. 8
551 Hob. I: 104 (“Unfinished”)
26) Ninth Chords 362. SCOTT JOPLIN, A Breeze from 398. BARTOK, Fourteen Bagatelles, 36) Free Atonality
Alabama: March and Two-Step op. 6, no. 4
Questions for Analysis Questions for Analysis
* 363. Wagner, Prelude to Act I from 399. CASELLA, Siciliana
Dominant Ninths Tristan und Isolde 439. SCHÖNBERG, Drei
400. ADDERLEY, Work Song Klavierstücke, op. 11, no. 1
 326. J. STRAUSS, Artist’s Life 364. MOZART, Sonata, K. 309
Waltzes, op. 316, no. 3 32) Pandiatonicism and 440. SCHÖNBERG, Klavierstücke, op.
I. Allegro con spirito A dditive H armony 19, no. 2
327. FRANCK, Sonata for Violin and
Piano II. Andante, un poco Adagio Questions for Analysis 441. SCHÖNBERG, Pierrot Lunaire,
op. 21, no. 1: Mondestrunken
 328. BEETHOVEN, Andante III. Allegretto grazioso 401. RAVEL, Mother Goose Suite: The
442. WEBERN, Five Movements for
 329. CHOPIN, Valse Brillante, op. * 365. Beethoven, Sonata, op. 2, no. 3 Magic Garden
String Quartet, op. 5, no. 4
34, no. 1 402. MILHAUD, Touches Blanches
29) E xamples of Counterpoint 443. BARTOK, Mikrokosmos, no. 144:
330. SCHUMANN, Waldesgespräch, 403. COWELL, The Irishman Dances Minor Seconds, Major Sevenths
op. 39, no. 3 Questions for Analysis
444. BARTOK, Fourth String Quartet
 331. CHOPIN, Prelude, op. 28, no. 15 366. BACH, Cantata No. 4: Sinfonia 338 404. COPLAND, The Young Pioneers
367. BACH, Chorale Prelude on “In 405. BARBER, Excursions, III 445. BERGER, Two Episodes, I
Secondary Dominant Ninths
Dulci Jubilo” 339 406. STRAVINSKY, Petroushka, Danse 37) Twelve-Tone Serialism
332. BACH, St. Matthew Passion, no. 78 Russe
368. BACH, Chorale Prelude on “Christ Questions for Analysis
333. SCHUMANN, Genoveva, op. 81: lag in Todesbanden” 342 407. POULENC, Gloria, Laudamus te
Overture Model Analysis
369. BRAHMS, Chorale Prelude on
 334. GRIEG, Grandmother’s Minuet, “O Wie selig seid ihr doch, ihr 33) E xotic (A rtificial, 446. KRENEK, Dancing Toys, op. 83,
op. 68, no. 2 Fommen” 343 Synthetic) Scales no. 1
 335. SCHUMANN, Kinderszenen, 370. PURCELL, “Thy hand Belinda,” Questions for Analysis 447. SCHÖNBERG, Suite für Klavier,
op. 15, no. 7: Träumerei from Dido and Aeneas 345 op. 25: Gavotte
408. MILHAUD, Touches Noires
Nondominant Ninths 371. BACH, Invention No. 4, BWV 448. DALLAPICCOLA, Cinque
409. BARTOK, Mikrokosmos, no. 78:
 336. GRIEG, Wedding Day at 775 349
Five Tone Scale Frammenti di Saffo
Troldhaugen, op. 65, no. 6 372. BACH, Invention No. 13, BWV 449. WEBERN, Drei Lieder, op. 25,
775 351 410. KODÁLY, Valsette
337. MENDELSSOHN, Midsummer no. 1
Night’s Dream, op. 21: Overture 373. BACH, Sinfonia 3, BWV 789 352 411. VAUGHAN WILLIAMS, London
Symphony 38) Music Since 1945
338. FAURÉ, Après un Rêve 374. BACH, The Well-Tempered
Clavier, Vol. I, Fugue 2 354  412. DEBUSSY, Préludes, II: Voiles Questions for Analysis
27) E xtended Linear Usages 413. BARTOK, Mikrokosmos, no. 136: 450. STOCKHAUSEN, Klavierstücke,
375. BACH, The Well-Tempered no. 2
Questions for Analysis Clavier, Vol. II, Fugue 9 357 Whole Tone Scale
Model Analysis 376. MENDELSSOHN, Fugue No. 2, 414. DEBUSSY, Pelléas et Mélisande, 451. LUTOSLAWSKI, String Quartet
Act II, scene 1 (1965)
 339. CHOPIN, Mazurka, op. 6, no. 1 op. 35
415. BARTOK, Fourteen Bagatelles, op. 452. PENDERECKI, String Quartet,
340. BRAHMS, “Der Tod, das ist die PART III: CONTEMPORARY 6, no. 10 no. 2
kühle Nacht,” op. 96, no. 1 MATERIALS
416. LUTOSLAWSKI, Bucolic, no. 3 453. CRUMB, Madrigals, Book IV
341. WEBER, Euryanthe: Overture Model Analysis
417. BARTOK, Mikrokosmos, no. 101: 454. DRUCKMAN, Valentine, for solo
 342. BRAHMS, Variations on a 30) E xtended and A ltered Diminished Fifth contrabass
Theme by Handel, var. 20 Tertian H armony 455. ROUSE, Valentine
418. BARTOK, Sketches, op. 9, no. 6
343. FRANCK, Symphony in D Minor Questions for Analysis 456. HORNE, Six Short Studies,
419. BARTOK, Fourteen Bagatelles, op.
344. WAGNER, Lohengrin, Act I, 6, no. 6 Sixteenth Notes
scene 2 377. HANSON, Symphony No. 2, op. 30
378. KABALEVSKY, Sonatina, op. 13 34) Quartal and Secundal 39) Complete Pieces for
345. WAGNER, Wotan’s Farewell, Die H armony A nalysis IV
Walküre, Act III 379. HOVHANESS, Mysterious
 346. CHOPIN, Prelude, op. 28, no. 9 Mountain Questions for Analysis Suggestion for Analysis
380. SHOSTAKOVICH, Prelude, op. 420. HINDEMITH, Mathis der Maler: 457. RAVEL, Sonatine, Mouvt II
347. BEETHOVEN, Quartet, op. 18,
no. 6 34, no. 24 Grablegung  458. DEBUSSY, Pour le Piano:
381. DEBUSSY, Pelléas et Méllisande, 421. IVES, Majority Sarabande
348. BACH, Ein’ feste Burg ist unser
Gott 336 Act I, scene 1
422. KRENEK, Piano Piece, op. 39,  459. DEBUSSY, Préludes, X: La
 382. SCRIABIN, Poem, op. 32, no. 2 no. 5 Cathédrale engloutie
349. BACH, Es ist genug, so nimm,

Herr 337 383. RAVEL, Valses Nobles et 423. HINDEMITH, Ludus Tonalis, 460. MILHAUD, Saudades do Brazil,
Sentimentales Fuga secunda in G no. 6: Gavea
28) Complete Pieces for
A nalysis III 384. RODGERS, Slaughter on Tenth 424. BARTOK, Concerto for Orchestra 461. PROKOFIEV, Classical Symphony,
Avenue op. 25
Checklist for Analysis 425. BERG, Wozzeck, Act II
385. ELLINGTON, Prelude to a Kiss 462. PROKOFIEV, March from The
350. MOZART, Minuet, K. 355 426. BARTOK, Mikrokosmos, no. 107: Love of Three Oranges
386. DUKE JORDAN, Jordu Melody in the Mist
351. SCHUMANN, Myrthen, op. 25, 463. HINDEMITH, Ludus Tonalis,
no. 24 387. BERG, Four Songs, op. 2, no. 3 427. BERG, Wozzeck, Act II Fuga undecima in B (Canon)
 352. MENDELSSOHN, Lieder ohne * 388. Raksin, Laura 428. COWELL, Tiger 464. RUGGLES, Evocations, no. 1
Wörte, op. 30, no. 3 429. IVES, Majority
31) Diatonic (Church) Modes 465. SCHÖNBERG, Suite für Klavier,
353. CHOPIN, Mazurka, op. posth. 430. BRUBECK, Blue Rondo à la Turk op. 25: Menuett
67, no. 2 Questions for Analysis
466. PORTER, Night and Day
354. SCHUMANN, Phantasiestücke, Model Analysis 35) Polyharmony and

op. 12, no. 3: Warum? Polytonality 467. GERSHWIN, Porgy and Bess,
389. BARTOK, Little Pieces for “Summertime”
 355. GRIEG, Erotikon Children, no. III Questions for Analysis
468. STRAVINSKY, Sonata for Two
 356. LISZT, Il pensieroso, from 390. CHÁVEZ, Ten Preludes, no. 1 431. HONEGGER, Symphony No. 5 Pianos, II: Theme with Variations
Années de Pèlerinage 391. POULENC, Valse 469. HINDEMITH, Piano Sonata,
432. SCHUMAN, A Three-Score Set, II
357. R. STRAUSS, Morgen, op. 27, 392. DEBUSSY, Trois Chansons, no. 1 no. 2
no. 4 433. KRAFT, Allegro Giocoso
393. KABALEVSKY, Toccatina 470. MACMILLAN, Piano Sonata, I
358. WAGNER, Der Engel 434. STRAVINSKY, The Rake’s
394. BRITTEN, Ceremony of Carols, Progress: Prelude Appendix A. Checklist for Analysis and
359. BEETHOVEN, Sieben no. 8 Sample Analysis
Variationen: Über das Volkslied: God 435. STRAVINSKY, Petroushka,
Save the King 395. DEBUSSY, Suite bergamasque, Scene 2 Appendix B. For Further Reference
Passepied 436. MILHAUD, Saudades do Brazil, Appendix C. Textbook Correlation Chart
360. MOZART, Symphony No. 40,
K. 550 396. FLOYD, Susannah, Act II, scene 3 no 7: Corcovado
Index of Composers and Their
361. BEACH, Phantoms 397. STRAVINSKY, Five Fingers: Lento 437. BARTOK, Forty-Four Violin Compositions
Duets, no. 33
Index of Complete Pieces
438. BRUBECK, Strange Meadowlark
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and Writing in Music History” and “Pronouncing
Church Latin”
• Study aids, teaching tips, chapter synopses, review
Turn to page 18 to and quiz materials, and listening recommendations
learn more!
October 2009 544 pp. cloth APS SEAIS3
978-0-19-537988-4 $59.95
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