Basic Materials in Music Theory: A Programmed Course, 10th Edition (Book Only) - Softcover

Harder, Paul O.; Steinke, Greg A.; Steinke, Greg A

Softcover

ISBN 10: 0130993336 ISBN 13: 9780130993335

Publisher: Prentice Hall, 2002

Synopsis

This classic, self-paced, auto-instructional introduction to music fundamentals allows users to work independently through a programmed format. From the wealth of clearly laid-out lessons and exercises, learners receive continual feedback and reinforcement as they work through the sequence at their own pace. Chapter topics cover the basic materials of music: time and sound, the notation of pitch, time classification, note and rest values, time signatures, intervals, the basic scales, the major scale, minor scales, key signatures, and triads. For private music studio teachers, and anyone involved in the teaching—and learning— of the basic fundamentals of music.

About this title

About the Author

Dr. Paul O. Harder (1923-1986) received a Master of Music degree in Music Theory from the Eastman School of Music, University of Rochester, where he performed as oboist with the Rochester' Philharmonic Orchestra. Later, as a fellowship student at the University of Iowa, he received his Ph.D.' in Music Composition. He studied composition with Mlle. Nadia Boulanger at the École des Beaux Arts de Fountainbleau, France, and at the Royal Academy of Music in Copenhagen, Denmark.

Dr. Harder held the post of Chairman of Music Theory at Michigan State University before becoming Assistant Vice President and Professor of Music at California State University, Stanislaus. He was a Professor Emeritus at Michigan State University.

In addition to approximately fifty compositions for a variety of media including orchestra, band, chorus, and chamber groups, Dr. Harder was the author of Harmonic Materials in Tonal Music, Parts I and II, through the fifth edition; Basic Materials in Music Theory, through the sixth edition; Music Manuscript Techniques, Parts I and II; and Bridge to Twentieth Century Music, through the first edition.

Dr. Greg A Steinke (b. 1942) holds a Bachelor of Music degree from Oberlin Conservatory, a Master of Music degree from Michigan State University, a Master of Fine Arts degree from the University of Iowa, and a Doctor of Philosophy degree from Michigan State University.

Dr. Steinke retired in June 2001 as Chair of the Art and Music Departments, Associate Dean for Undergraduate Studies, and holder of the Joseph Naumes Endowed Chair in Muise at Marylhurst University in Oregon. Formerly, he was Dean of the College of Fine Arts and Professor of Music at Millikin University, Director of the School of Music and Professor of Music at Ball State University, Assistant Director of the School of Music at the University of Arizona, Chairman of the Music Department at San Diego State University, Director of the School of Music at the University of Idaho, Chairman of the Music Department at Linfield College, and a faculty member at Northern Arizona University, The Evergreen State College, California State University, Northridge, and the University of Maryland. Currently, he is a freelance composer, writer, oboist, and conductor.

Dr. Steinke is the author of numerous articles, has done the revisions to Paul Harder's Basic Materials in Music Theory (seventh through ninth editions), Harmonic Materials in Tonal Music, (sixth through ninth editions) and Bridge to Twentieth Century Music (revised edition). He holds membership in a number of professional organizations and served for nine years (three terms, 1988-97) as the President and National Chairman of the Society of Composers, Inc. Professor Steinke is active as a composer of chamber and symphonic music with a number of published works, as a speaker on interdisciplinary arts, and as an oboe soloist specializing in contemporary music.

Excerpt. © Reprinted by permission. All rights reserved.

It is a challenging task to revise a book that has already enjoyed many years of success. It is an honor to be asked to undertake this latest revision of what has now been several editions. I have had a deep belief in these books ever since I first used them as a young theory teacher in 1967 when they' were first available. With a great deal of history behind me, and the highest respect and regard for all of Paul Harder's diligent efforts, I now offer various revisions and enhancements, which I believe keep to the original spirit of Dr. Harder's programed concept, and that I hope all users will find helpful as they work through these pages.

In making the revisions, I have responded to comments that were made available to me from Dr. Harder's estate and to suggestions from reviewers and current users of the book. Earlier revisions contained additions made to the supplementary exercises and to the appendix material. In selected places throughout the book, I have continued to clarify definitions or to demonstrate to the reader that there are always alternatives to the ideas presented and that the reader should explore those alternatives either independently or in class with the instructor. This edition sees small changes in or additions to selected exercises, changes in the appendixes, and in the "Supplementary Activities." I hope that the differences in theoretical and analytical approaches (which, I know, will always be there) work comfortably with previous editions and also provide many interesting points of discussion in class. I'm quite sure that Dr. Harder never intended this volume to be the final, definitive answer but, rather, to provide an informed point of departure for exploring the many anomalies that are always to be found in musics everywhere.

The exposition of the material is accomplished through a step-by-step process. To some, this approach may seem mechanical, but it does ensure, in general, a good understanding of the basic tenets of the materials of the so-called common practice period in music. I emphasize that this approach does not preclude the presentation of alternatives or the exploration of other ways in which composers may work with various cause-and-effect relationships, rather than following any set of "rules." A rich learning experience can be created for instructors and students alike as they explore together the many exceptions to the so-called rules or principles. This allows them ultimately to link all that they study to actual musical literature or to create many varieties of assignments to solidify the understanding of the basic framework presented in these pages.

The reviser continues to be grateful to both Mildred Harder and Prentice Hall for providing helpful comments and support throughout the revision process. I also wish to thank Mrs. Harder for providing me access to all notes and support materials Dr. Harder used in the original creation of his book and for her ever helpful comments and moral support. I also thank colleagues Dr. David Stech, Dr. Margaret Mayer, Dr. Deborah Kavasch, Dr. Tim Smith, Dr. David Sills, Prof. David Foley, and Dr. Lewis Strouse for their comments, encouragement, and assistance on revision ideas over the past several editions. I also thank Laura Lawrie, who copy edited this edition and provided many helpful changes and suggestions. I am grateful to all concerned and am most appreciative of the help they have provided. I hope users of this volume will find many hours of rich, musical learning to enhance their developing musicianship.

GAS

Edition details

• Publisher: Prentice Hall
• Publication date: 2002
• ISBN 10: 0130993336
• ISBN 13: 9780130993335
• Binding: Paperback
• Language: English
• Number of pages: 377