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Advanced Harmony, Melody and Composition by Paul

Sturman. London: Longman, 1986. £6.95, 237 pp.

Janet Ritterman

British Journal of Music Education / Volume 4 / Issue 03 / November 1987, pp 307 - 308
DOI: 10.1017/S0265051700006203, Published online: 18 December 2008

Link to this article: http://journals.cambridge.org/abstract_S0265051700006203

How to cite this article:

Janet Ritterman (1987). British Journal of Music Education, 4, pp 307-308 doi:10.1017/
S0265051700006203

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Advanced Harmony, Melody
and Composition by Paul
Sturman. London: Longman,
1986. £6.95, 237 pp.
This forms a sequel to a
similarly titled volume by the
same author, a professor of
harmony and composition at the
London College of Music.
Although the author's
introduction provides no explicit
indication of the intended
readership, the layout of the
publication and the addressing
of the reader (in the second
person) would suggest that this
is yet another textbook for the
undergraduate market. It might
also prove suitable for able
secondary-school pupils:
although the final chapters move
beyond this, the harmonic
vocabulary which forms the core
of the book comprises seventh
and ninth chords, secondary
dominants, simple chromatic
chords and modulation to closely
related keys.
In many respects the volume
has much to commend it for
these users. It is a relatively slim
and inexpensive paperback,
clearly organised and presented,
and written in a simple, direct
prose style. There is no index,
but marginal headings and
subheadings throughout the text
provide a rapid means of
orientation. Each chapter is
divided into two sections, the
first of which approaches matters
from aJiarmonic point of view,
while the second usually tackles
things melodic. Varied tasks are
provided at the end of each half
chapter: suggestions for singing,
writing, playing, analysing,
listening and composing are all
included. There is, however, no
obviously discernible pattern in
the sequence advocated, or in
the frequency with which
particular activities are proposed.
The text is generously
illustrated with musical
examples which, as the author
promises, range 'from plainsong
to the popular music of the
present day'. However, any
reader whose eye is caught by
the latter phrase should note Reviews
that, apart from two songs by
the author, which seem unlikely
to commend themselves to
popular taste, music of the
present day is not represented.
The reference to popular music
is presumably intended to signal
the occasional inclusion of
spirituals and other traditional
melodies. However, the
examples that are included are
entirely appropriate to the
material discussed in the text,
and, in general, they are not the
most obvious examples: few
duplicate those frequently cited
elsewhere. Some teachers may
therefore find Sturman's book
helpful in directing them to a
new range of musical
illustrations.
But whether teachers will wish
to recommend this as a textbook
for student use must depend
much on their views of
appropriate learning sequences
and strategies as well as on the
quality of the musical insights
offered. As with some other
recent publications, the book not
only summarises relevant
information but also offers
firmly directive methods of
working. At times the author's
voice emerges very clearly.
Because of this, the nature of the
tasks set assumes considerable
significance. Although in his
introduction the author urges
readers to 'play and listen to the
musical examples', the
importance of the development
of inner hearing is not
emphasised and, by the
instructions for some of the tasks
(e.g. 'write, play, sing...') is
certainly not encouraged.
Views are also likely to differ
on the model of composition
teaching which the book
presents. The compositional
exercises which are suggested
are firmly tied to the material of
the chapter to which they are
attached, and differ only slightly
in their degree of
prescriptiveness from the tasks
which are simply described as
'writing'. The following
example is not unrepresentative:
307
Reviews Compose a piece for piano of aboutIllustrated Fluteplaying by
16 bars. Robin Soldan and Jeanie
(a) use a variety of seventh chords Mellersh. Minstead: London
in root position and inversions Minstead Publications, Hilltop
together with other chords Farmhouse, Minstead,
(b) approach and leave the 7th in a Hampshire SO4 37FT, 1986.
number of different ways £6.95, 81 pp.
(e) end your piece with a decorated
IIl-V-I cadence [p. 47]. There is a girl with amontillado
eyes, a serious young man
Notions of formal organisation wearing the expression of one
are approached through melody deeply contemplating the finer
and lead to the identification of points of embouchure, the
basic melodic 'plans'. These are essence of the much-troubled
also used as the framework for flautist personified, a young
compositional activities, as the child whose expression is caught
following example shows: before tears and Kim Basinger
Compose a four-phrase melody patented pout, a primitive
according to each of these plans : man encountered in many an
(a) Al, A2, A3, A4 Underground Station, whose
(b) Al, A2, Al, A3 deep-set eyes and sideways
(c) A1,B1,A2,B2 glance exhude an air of
(d) Al, A2, B, C complicity. Such character
(e) A, B, C, D sketches are wonderfully stylish.
Use a broad curve shape, similar Those depicted could find
rhythm or similar intervals to help themselves taking leading roles
unify plan (e) [p. 144]. in a novel, especially since one is
later reacquainted with them.
It is disturbing to consider the This book is clearly an
views of the relationships between extraordinary one, presenting as
form and musical ideas, as well as it does flute technique in a lively
of the compositional process and interesting way. It is a how
itself, which less innately musical and why book, a companion to
students may acquire from tasks flute playing by illustrator Jeanie
of this kind. And although the Mellersh and her flute teacher
closing section of the book pro- Robin Soldan. Jeanie Mellersh
poses a different type of composi- provided the illustrations for
tional process, making clear that James Galway's book, Flute, so
forms should not be viewed as would perhaps have been most
' ready-made moulds' for musical publishers' choice flute
ideas, by then the damage may illustrator. That she took the
already have been done. Certainly calculated risk of publishing the
the latter view is at variance with book herself suggests a
the models of the compositional knowledge of the potential
process which readers are encour- market of around a quarter of a
aged to apply elsewhere in the million flautists in Britain alone.
book. In similar fashion, the More than 300 illustrations,
summary pronouncements of a ranging from delicate but
'potted history' variety which anatomically accurate drawings
appear at various points in the of hand and mouth positions
book, are surely out of keeping used in playing to amusing
with the type of individual critical cartoons intended to help drive
judgement and insights which home a difficult point, make for
such work should be seeking to a visually attractive book. The
foster among all students. It is in drawings are designed so that
the handling of the wider musical readers can grasp the points
context that this contribution to immediately without wading
the teaching of 'advanced har- through oceans of text. For
mony, melody and composition' those garrulous with their hands
is at its least advanced. there are stereotypical
illustrations depicting faults
JANET RITTERMAN

308