Tonality and Design in Music Theory, Volume I - Softcover

Henry, D. J.; Rogers Retired, Michael

Softcover

ISBN 10: 0130811289 ISBN 13: 9780130811288

Publisher: Pearson, 2004

Synopsis

This book emphasizes Western musical art, with ample material on the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Following the well-established tradition of comprehensive musicianship, this book presents lessons and assignments not only in basic tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, written essays, and a survey of 20th and 21st century music. For music enthusiasts interested in understanding the development of music.

About this title

From the Back Cover

In two volumes, Tonality and Design in Music Theory is a text package devised for students and teachers at a wide range of colleges and universities. The book follows a comprehensive musicianship approach in integrating studies of traditional Western melody, harmony, and rhythm with an introduction to form, a review of fundamentals, and several chapters devoted to music of the twentieth and twenty-first centuries.

This is a carefully paced book that will foster student success in college-level music study. The text discussions are clear and informal with helpful diagrams, charts, and sample analyses. In addition, students will find a wealth of supplementary information (related topics, composer dates, and biographical sketches, for example) throughout both volumes. Numerous drill exercises and self tests (with answers) help ensure comprehension and steady progress. Creative projects accompany each chapter and center on analyses, composition (often with detailed instructions and examples), and suggested research projects dealing with folk and popular music, historical studies, and many other topics.

Other distinctive features of Tonality and Design include:

• Musical examples taken not only from traditional Western literature, but from musical theatre, jazz, rock, and folk styles.
• The music of many women and minority composers as well as frequent examples from outside Western culture.
• An unusually large number of complete pieces for analysis and performance including vocal scores; movements from piano sonatas, and popular songs, as well as quartet, symphonic, and chamber scores.
• A wide range of student supplements including over thirty self tests in each volume, detailed instructions for projects, ample drill exercises, lists of essential terms, appendixes on acoustics, temperaments and tuning, instrumentation, popular music chord symbols, and other topics.
• Audio CDs for each volume contain recordings of most text examples and allow students to correlate notation with performance.
• A complete workbook is available with each volume and includes drill material, short analysis and composition projects, and complete pieces for study in each volume.

Excerpt. © Reprinted by permission. All rights reserved.

Music Theory is the study of how and why music works. This suggests that understanding the subject consists of something more than data bits, definitions, or a body of prescribed knowledge. While this set of textbooks offers plenty of instruction about names, labels, and an appropriate vocabulary for effective communication among musicians, we have designed the series to offer a good deal more. Without being dangerously speculative, we have tried to propose, where possible, the reasons which lie behind principles and procedures of aesthetically stimulating musical constructions—that is, an explanation for just how the rules came about and how they have influenced changing musical styles.

We have also approached theoretical study from the listener's perspective, so that our discussions and analyses refer not only to the printed notation of scores, but also to the reactions of educated audiences to the individual sounds and larger patterns of music. By alluding frequently to the aesthetic involvement of music and the psychological manipulation of master composers, for example, we have endeavored to enrich cognitive and perceptual experiences; these are simultaneously the byproducts of informed listening and the foundation of performing, composing, and teaching music.

Presented in proper manner and spirit, these books can enable theory teachers to not only foster intellectual development and aural growth for their students, but also to advance beyond that stage into the ambitious realms of changing opinions and attitudes, reworking beliefs and habits, judging sides of a controversy, and refining a set of values. Students may come to develop a sense of wonder about the mysteries and forces of music itself. In other words, training in music theory can support learning how to think and learning how to respond—the twin sides of a true musical education.

We draw from the well-established tradition of Comprehensive Musicianship in choosing and organizing topics for these books. Lessons and assignments are presented not only in basis tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, writing essays, and various aspects of contemporary music—all within a stylistic and historical context. Although our emphasis is on Western musical art, text material is amplified by the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works.

The methodology of Tonality and Design in Music Theory is intentionally eclectic. We present a wide variety of analytic techniques, including both traditional approaches (harmony and form, for example) and also a generous representation of linear analysis. We introduced the latter topic without any formal or restrictive adherence to Schenkerian principles because we feel that these topics are a worthy subject for advanced study in their own right, but only after a beginning groundwork has been established. Our book will not, for example, teach students to draw elaborate graphs. Instead, it will enable them to not only appreciate the long-range attractions and links that pitches have for one another, but also to understand and create graphic representations of these relationships in a variety of ways. Single-line melodic study is covered along with selective representations of structural reductions (as simplified notation) in both harmonic and contrapuntal settings in order to clarify the skeleton and scaffolding of music. These reductions permit distinctions to be made between events that give meaning and those that take meaning.

One of the most challenging aspects of writing the actual words, sentences, and paragraphs for an introductory theory course is to establish an appropriate tone, style, and level of readability for students of varying backgrounds—one that is forceful and clear for the learner while being engaging and thought-provoking for the facilitator. In short, we have written a book that we hope is simple and direct, but at the same time, properly sophisticated and nuanced so that while concepts are not diluted, there is no underestimation or dishonoring of the profusion of music itself. We have devoted special care and attention to the problem of writing a text for readers who are coming to a topic for the first time, and can only hope that a satisfying and challenging balance has been achieved so that the books will have appeal as well for the teacher.

USING THE TEXT

To Students

Tonality and Design in Music Theory is the final manuscript version of a two-volume textbook to be published by Prentice Hall with a January, 2005, copyright date. We hope that you will enjoy using this book and will find it helpful in your studies. Please note how the text has been organized to facilitate study and comprehension.

Organization

Each chapter centers on a full and detailed discussion of one major aspect of traditional Western music. These prose discussions are then divided into two, three, or four smaller parts that likewise present self-contained topics. There are over thirty of these smaller divisions in each volume, so that while the chapters cover a broad aspect of Western musical art, chapter divisions progress in "bite-sized" pieces. Each chapter division ends with a Review and Application consisting of important terms, class and individual exercise problems, and music for analysis. Be sure that you understand each of the terms and its relationship to the central topic. The exercises can be completed either in class or at home, as directed by your instructor. Chapter Projects conclude each broad area of study. These projects include analysis, composition, essay, and a wide range of other endeavors that will help you apply the knowledge you have gained to a wider range of interests and studies.

Following each Review and Application, chapter divisions contain Self-Tests. These quizzes are short, and center on objective questions about the material concerned. You should take each self-test at home in a timed situation. The time limits in the text are only suggestions; you may want to allow yourself more time, but note carefully how much of the self-test you have covered in the prescribed time. Remember that in many aspects of music theory, speed in analysis and construction is as important as a knowledge of procedure. The answers to self tests can be found on the website for both volumes ( www.prenhall.com/henry ). Where questions are objective, the given answers can be scored correct or incorrect; in other situations, however, you will find an answer given, but with the indication that other correct answers are possible. When in doubt, check your answers with your instructor. Score each self test as directed on the basis of 100 points and note your progress.

Workbook/Anthology. The two Workbook/Anthologies that accompany the texts are optional at the discretion of institutions and individual instructors. These volumes contain a wide range of problems, drill exercises, composition activities, and music for analysis. As you progress through the text, you will note references to specific pages in the Workbook/Anthology that correspond to the text material. Your instructor will assign some or all of these materials as supplementary studies. Each chapter of the Workbook/Anthology contains one or more complete works of movements for study and analysis.

Compact Disc Recordings. Each volume corresponds to two compact discs that contain recorded examples of text material. Another CD corresponds to each volume of the workbook/anthology. These recordings will assist you in your study when a keyboard is not available. As shown in the next example, a logo lets you know when a text or workbook passage is recorded.

If the caption indicates that the example is in multiple parts ("2 parts," "3 Parts," and so on), you will need to pause the CD at the end of the first passage, and then resume the same track when you are ready to listen to the next example.

While a few of the recorded examples are synthesized, most are live acoustic performances by both student and professional musicians.

Website. From the Internet, you can connect easily to Prentice Hall's website for this book at www.prenhall.com/henry . On this site (available 2005), you will find additional study suggestions and materials that correlate with every chapter of Tonality and Design. As you work through the problems on the website, the correct answers and supplementary commentary are available at any time you choose. In addition, a student-centered forum will permit you to discuss related topics and swap ideas with other students, with professional musicians, and with the authors.

Edition details

• Publisher: Pearson
• Publication date: 2004
• ISBN 10: 0130811289
• ISBN 13: 9780130811288
• Binding: Spiral-bound
• Language: English
• Number of pages: 450