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Analysis of Musical Form, The
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所在地：Haltom City, Texas, 美國
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- Release Year
- 2006
- Book Title
- Analysis of Musical Form, The
- ISBN
- 9780130618634
關於產品
Product Identifiers
Publisher
Pearson Education
ISBN-10
0130618632
ISBN-13
9780130618634
eBay Product ID (ePID)
53561782
Product Key Features
Number of Pages
400 Pages
Publication Name
Analysis of Musical Form
Language
English
Subject
General
Publication Year
2006
Type
Textbook
Subject Area
Music
Format
Spiral
Dimensions
Item Height
1.2 in
Item Weight
33.3 Oz
Item Length
10.9 in
Item Width
9.2 in
Additional Product Features
Intended Audience
College Audience
LCCN
2006-025912
TitleLeading
The
Dewey Edition
22
Reviews
"I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.-Joyce Dorr, U of North Carolina, Asheville There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a ro≤ this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.-Robert Fleisher, Northern Illinois University "Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements. I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items."-Gene Trantham, Bowling Green State U, "I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.--Joyce Dorr, U of North Carolina, Asheville There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.--Robert Fleisher, Northern Illinois University "Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements. I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items."--Gene Trantham, Bowling Green State U, "I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.--Joyce Dorr, U of North Carolina, Asheville There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening." Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.--Robert Fleisher, Northern Illinois University "Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements. I find the text easy to follow, well organized, andunderstandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items."--Gene Trantham, Bowling Green State U, "I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author's clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.--Joyce Dorr, U of North Carolina, Asheville There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening". Also that "analysis and performance" issues will play a ro≤ this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.--Robert Fleisher, Northern Illinois University "Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building on previously learned elements. I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items."--Gene Trantham, Bowling Green State U, " I find this work well presented in every aspect. In particular: the flow from simple to more complex forms is done well; the attention to any one form is commensurate with the others; the author' s clear familiarity with the genres in each category and each musical period; the continual emphasis on the significance of the aural aspect of analysis; the very helpful historical references throughout; and the content in paragraphs. I think it has much to offer in terms of its thoroughness and comprehensiveness, its clarity and its many excellent well-chosen examples and references.-- Joyce Dorr, U of North Carolina, Asheville There is no question that the author has identified an area of continuing need: a text on musical form for undergraduates who have completed their required study of harmony and voice-leading.I am pleased that Mathes plans to emphasize "aural experience and contextual listening." Also that "analysis and performance" issues will play a role; this responds both to the special interest and relevance of such considerations for performance majors, and to the increasing attention shown in recent scholarship and pedagogy. . . . We have needed such a book for a long while.-- Robert Fleisher, Northern Illinois University " Textbooks on musical form can easily become very wordy and abstract. Mathes' use of musical examples and figures lessens this tendency. He wisely has included at least one example or figure to illustrate each important concept. This approach will make the text more accessible especially to visual and aural learners. The author has continued his systematic presentation building onpreviously learned elements. I find the text easy to follow, well organized, and understandable. The approach is good especially the emphasis on listening. Musical examples and figures strengthen and clarify the presented items." -- Gene Trantham, Bowling Green State U
Illustrated
Yes
Dewey Decimal
781.8
Table Of Content
Preface and Acknowledgements List of Recorded Examples Part I: Formal Design and Structure: Analytic Concepts and Tools Chapter 1: On the Nature of Musical Form Formal Design and Formal Structure Formal Processes and Functions Form, Style and Genre Perception of Musical Form Chapter 2: Tonal Design Phrase, Cadence, and Key Cadences and Segmentation Tonal Design and Key Relations Analysis of Tonal Design Chapter 3: Thematic Design and Phrase Structure Thematic Design Motives and Themes Thematic Models of Phrase Structure Chapter 4: Phrase Rhythm and Form Phrase Rhythm Defined Phrase Connections: elision, links, overlap, Phrase Expansions: introductions, internal expansions, extensions Analysis of Phrase Rhythm Chapter 5: Formal Functions and Musical Texture Expository Function Introductory Function Transitional and Developmental Function Closing and Framing Function Parenthetical Function Phrase Expansions and Formal Functions Definitions of Musical Textures Vocal and Instrumental Textures Texture and Formal Design Texture and Formal Processes Part II: Forms of Music Chapter 6 One Part and Binary Forms One Part Form: Preludes, Periods, Phrase groups Simple Binary Forms Balanced Binary Form Rounded Binary Form Expanded Binary Form Chapter 7 Ternary and Composite Forms Simple Sectional Ternary Form Continuous Ternary Form Large and Compound Ternary Forms Chapter 8 Sonata Form Principles of Classical Sonata Form Exposition Development Recapitulation Coda Sonata Form in the 19th and 20th century Chapter 9 Modifications of Sonata Form/ Cyclic Forms Slow Introduction Sonata Form without Development Sonata Form in Concerto Movements Cyclic Form and Arch Form Chapter 10 Rondo Form Principles of Rondo Form Baroque Rondeau Five-Part Rondo Seven-Part Rondo Sonata Rondo Form Chapter 11 Ostinato and Variation Forms Introduction: Variation as Form, Genre, and Technique Ostinato Variations: Ground, Passacaglia, Chaconne Ostinato as Constructive Device Theme and Variations Fixed and Variable Elements Types of Variations Large-Scale Organization Chapter 12 Contrapuntal Genres Introduction: Contrapuntal Genres and Textures Canon Invention Fugue Chorale Prelude and Cantus Firmus Techniques Chapter 13 Vocal Forms and Genres Small Forms: Hymns and Popular Songs Verse /Refrain, Strophic Forms, Bar Form Small Binary, Small Ternary Lieder/Art Song Text and Form Exapnded Song Form Aria Forms Barqoue Da Capo Forms and Ritornello functions Classical Arias and Da Capo modifications Operatic Rondò: Composite Binary Form 19th Expanded Rondò: Cavatina/Cabelletta Choral Forms Chapter 14 20th-Century: New Formal Processes and Techniques Pitch Collections, Centricity, and Formal Processes Timbre, Texture and Form Indeterminacy and Open Forms Textural Form Form as Process: Minimalism Bibliography of Writings on Musical Form Glossary of Terms Index of Works Cited and Subjects
Synopsis
The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. KEY TOPICS: analysis of tonal design, thematic types and phrase structure, formal functions, musical texture, cadences and tonality, innovative approaches to formal processes in 20th century music; concepts of form as design and form as process MARKET For readers interested in musical form and basic analytic techniques., The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. KEY TOPICS: analysis of tonal design, thematic types and phrase structure, formal functions, musical texture, cadences and tonality, innovative approaches to formal processes in 20th century music; concepts of form as design and form as process MARKET : For readers interested in musical form and basic analytic techniques., The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. analysis of tonal design, thematic types and phrase structure, formal functions, musical texture, cadences and tonality, innovative approaches to formal processes in 20th century music; concepts of form as design and form as process MARKET For readers interested in musical form and basic analytic techniques., For courses on the analysis of musical form, with an emphasis on western music from 1700 to the present, in the standard Music Theory curriculum. The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. James Mathes wrote this book due to a lack of textbooks written in the past dozen years on musical form.The relatively few texts on the market do not address recent scholarship or methodology, do not address phrase rhythm and formal processes in a systematic or thorough manner, and omit discussion of vocal forms and developments in post-tonal music of the 20th century. There is also a lack of emphasis on aural comprehension of musical forms. Separate chapters on vocal forms and 20th-century music, inclusion of recent developments in analytic methodology with suggested readings, and aural exercises, and accompanying CDs address these problems., The Analysis of Musical Form emphasizes aural comprehension, incorporates recent analytic methodologies, and addresses musical form as both process and design. analysis of tonal design, thematic types and phrase structure, formal functions, musical texture, cadences and tonality, innovative approaches to formal processes in 20th century music; concepts of form as design and form as process MARKET: For readers interested in musical form and basic analytic techniques.
LC Classification Number
MT6.M349A63 2007
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賣家信用評價 （13,355）
- c***p (4374)- 買家留下的信用評價。過去 1 個月購買已獲認證Great!
- x***c (1028)- 買家留下的信用評價。過去 1 個月購買已獲認證It matched the description. Excellent condition well packaged and fast shipping.
- o***9 (39)- 買家留下的信用評價。過去 1 個月購買已獲認證Came in good time in good shape, thank you!