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Stefan Kostka teaches at the University of Texas at Austin. He is the author of books on tonal harmony and music of the twentieth century.
Roger Graybill teaches at the New England Conservatory. He has published articles on rhythm, the music of Brahms, and theory pedagogy.Excerpt. © Reprinted by permission. All rights reserved.:
This anthology is intended for use in several kinds of undergraduate theory courses, including tonal harmony, formal analysis, and music of the 20th century. We have attempted to choose music that is both high in quality and pedagogically valuable for classroom use (although invariably there are times when the balance may be slightly tipped in one direction or the other). In addition, we have tried to incorporate within the anthology as much instrumental variety as possible. To be sure, keyboard music is the most represented medium, because such scores are relatively user-friendly for undergraduate theory students. But we also have made an effort to include a representative sampling of vocal and choral music, as well as repertoire for instruments that often are given minimal attention in a theory course (for instance, woodwinds and brass).
The earliest work in the anthology is by Purcell, dating from the late 17th century. Our exclusion of earlier music is not meant to imply any negative value judgment but, rather, arises from pragmatic considerations. It is our impression that the core theory curriculum in most schools focuses on common-practice tonality. Although we realize that this is not true of all programs, on balance we decided that the omission of Medieval and Renaissance music would allow more room for music from the Baroque period up to the present. It is our hope that this decision will best serve the needs of most theory programs.
This anthology includes CDs with recordings of many of the pieces, especially those that may not be easy to find in a typical music library. The student is strongly encouraged to listen to these recordings while analyzing the music.
NOTE TO THE INSTRUCTOR
We have intended the accompanying Instructor's Guide and Workbook to be an integral part of this anthology. Parts I and II of the manual are organized topically, with emphasis on harmony and form, respectively. Part I includes exercises that are keyed to specific passages from the works in the anthology. (These exercises may be photocopied as homework assignments.) In almost all cases, we have decided to base the harmony assignments on passages that are coherent in their own right—at least a phrase in length, and sometimes longer. The third part of the Instructor's Manual shifts from an emphasis on the topics of harmony and form toward a focus on the individual composition. Here we discuss each piece in the anthology from a more holistic perspective, paying special attention to the ways in which certain compositional features emerge as salient or interesting within that larger context.
The Instructor's Guide and Workbook as a whole, then, is designed to make the anthology usable both from a "bottom-up" and "top-down" perspective. Our aim is to combine the benefits of an excerpt book (in which harmonic issues are illustrated in phrases lifted from larger pieces) and a more traditional anthology, with its natural emphasis on the whole piece.
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