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This one-of-a-kind text features. . .

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about films
• Sidebar commentary
from industry
professionals
• Over 300 illustrations
• Glossary of terms for
easy reference

Turn to page 20 to learn more!

2009 496 pp. paper APS BUHLER 978-0-19-532779-9 $50.00

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 Music
TA BL E of C ON T E N TS

MUSIC APPRECIATION Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Introduction to American Popular Music . . . . . . . . . . . . 2
Introduction to World Music. . . . . . . . . . . . . . . . . . . . . . 8
Introduction to Music Appreciation. . . . . . . . . . . . . . . . 10
MUSIC EDUCATION
Conducting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Choral Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Elementary / Middle School Methods. . . . . . . . . . . . . . 12
Foundations of Music Education. . . . . . . . . . . . . . . . . . 13
Research Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
String Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Teaching in Higher Education. . . . . . . . . . . . . . . . . . . . 16
MUSIC HISTORY
Baroque Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
History of Western Music. . . . . . . . . . . . . . . . . . . . . . . 18
Film Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Research Methods / Bibliography . . . . . . . . . . . . . . . . . 22
MUSIC THEORY
Counterpoint (Sixteenth Century). . . . . . . . . . . . . . . . . 23
Form and Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Ear Training and Sight Singing. . . . . . . . . . . . . . . . . . . 26
Schenkerian Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Graduate Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Theory for Majors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
OTHER COURSES
Class Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Career Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Psychology of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

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Charts. . .
American Popular Music, Third Edition
CONTENTS
Preface to the Third Edition
1. Themes and Streams of American
Popular Music
Theme One: Listening
Theme Two: Music and Identity
Theme Three: Music and Technology
Theme Four: The Music Business
Theme Five: Centers and Peripheries
Streams of Tradition: The Sources of
Popular Music
The European American Stream
The African American Stream
The Latin American Stream
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Popular Music
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Country, Reggae, Punk, Funk,
7. “Choo Choo Ch’Boogie”: The and Rap, 1970s
Postwar Era, 1946–1954 The Outlaws: Progressive Country
Popular Music and Technology in the Music

2. “After the Ball”: Popular Music of
the Nineteenth and Early Twentieth
Centuries
The Minstrel Show
Dance Music and Brass Bands
The Birth of Tin Pan Alley
The Ragtime Craze, 1896–1918
The Rise of the Phonograph
3. “Catching as the Small-Pox”:
Social Dance and Jazz, 1917–1935
Technology and the Music Business
“Freak Dances”: Turkey Trot and Tango
James Reese Europe and the Castles
The Jazz Craze
Jazz Becomes Popular Music: The
Original Dixieland Jazz Band
Dance Music in the “Jazz Age”
“The King of Jazz”
4. “I Got Rhythm”: The Golden Age
of Tin Pan Alley Song
Tin Pan Alley Song Form
What Were Tin Pan Alley Songs
About?
What Makes a Song a “Standard”?
Postwar Era
Rise of the Big Singers
Urban Folk Music: The Weavers
The Mambo Craze (1949–1955)
Southern Music in the Postwar Era
Rhythm & Blues
Women in R&B: Ruth Brown and Big
Mama Thornton
Country and Western Music
Hank Williams
8. “Rock Around the Clock”: Rock ’n’
Roll, 1954–1959
Cover Versions and Early Rock ’n’ Roll
The Rock ’n’ Roll Business
Early Rock ’n’ Roll Stars on the R&B
Side
Early Rock ’n’ Roll Stars on the Country
Side
Wild, Wild Young Women: The Lady
Vanishes
Songwriters and Producers of Early
Rock ‘n’ Roll
9. “Good Vibrations”: American Pop
and the British Invasion, 1960s
The Early 1960s: Dance Music and
“Teenage Symphonies”
I N T R O D U C T I O N TO A M E R I C A N P O P U L A R M U S I C
“I Shot the Sheriff”: The Rise of Reggae
The Rise of Salsa Music
“Psycho Killer”: 1970s Punk and New
Wave
“Tear the Roof off the Sucker”: Funk
Music
“Rapper’s Delight”: The Origins of
Hip-Hop
13. The 1980s: Digital Technology,
MTV, and the Popular Mainstream
Digital Technology and Popular Music
A 1980s CD Changer
A Tale of Three Albums
“Baby I’m A Star”: Prince, Madonna,
and the Production of Celebrity
14. “Smells Like Teen Spirit”: Hip-
Hop, “Alternative” Music, and the
Entertainment Business
Hip-Hop Breaks Out (1980s–1990s)
Techno: Dance Music in the Digital Age
Alternate Currents
Women’s Voices: Alternative Folk, Hip-
Hop, and Country
Globalization and the Rise of World
Music

M USIC A PPR E C I AT ION:

5. “St. Louis Blues”: Race Records
and Hillbilly Music
Race Records
Classic Blues
The Country Blues
Charley Patton and “Tom Rushen
Blues” (1929)
Blind Lemon Jefferson: The First
Country Blues Star
Robert Johnson: Standing at the
Crossroad
Early Country Music: Hillbilly Records
Pioneers of Country Music: The Carter
Family and Jimmie Rodgers
Popular Music and the Great
Depression
Berry Gordy and Motown 15. Conclusion
Brian Wilson and the Beach Boys Music and Identity
The Beatles, the British Invasion, and Technology and the Music Business
the American Response Centers and Peripheries
The Latin Stream in 1960s Pop
10. “Papa’s Got a Brand New Bag”:
Appendix: Illustrations of Key Music
Terms ROCK
Country, Soul, Urban Folk,
and the Rise of Rock, 1960s
Glossary ON. . .
Bibliography
Patsy Cline and the Nashville Sound
Ray Charles and Soul Music Timeline Turn the page for a peek inside
James Brown and Aretha Franklin
Urban Folk Music in the 1960s: Bob
Credits the new edition. . .
Dylan Index
The Counterculture and Psychedelic
CD Track List
Rock
Sgt. Pepper’s Lonely Hearts Club Band
San Francisco Rock: Jefferson
Airplane, Janis Joplin, and the
Grateful Dead
Guitar Heroes: Hendrix and Clapton
3
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American Popular Music
The Rock Ye ar s
Larry Starr and Christopher Waterman
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4
Significantly expanded coverage
of the Latin American stream
of influence throughout,
including the mambo craze of the
1950s, Latin music in the big-
band era, bossa nova, and salsa

Detailed in-text
listening guides
explain the most
important elements of
recordings discussed at

I N T R O D U C T I O N TO A M E R I C A N P O P U L A R M U S I C
length in the text

M USIC A PPR E C I AT ION:

5
 The ONLY reader that brings together a wide range of readings
from the 1920s to the present
The Pop, Rock, and Soul Reader
Histor ies a nd Debates
Second Edition
Edited by Dav id Brackett, McGill Universit y

N E W t o t h e SE C ON D E DI T ION
• Includes eleven new selections,
which offer an expansion of his-
torical range, a greater emphasis
ALSO of INTER EST
on fandom, and more recognition
of the role of women
I N T R O D U C T I O N TO A M E R I C A N P O P U L A R M U S I C
c o n t e n
* = New to this edition
Preface
PART 1: BEFORE 1950
* 1. Irving Berlin in Tin Pan Alley
Charles Hamm, from Irving Berlin,
How the Beatles Songs from the Melting Pot: The
Destroyed Rock Formative Years, 1907–1914
2. Technology, the Dawn of Modern
’n’ Roll Popular Music, and the “King of
Jazz”
A n A lter nativ e
History of Paul Whiteman and Mary Margaret
McBride, “On Wax”
A mer ic a n Popul a r
3. Big Band Swing Music: Race and
Music Power in the Music Business
Elijah Wald Marvin Freedman, “Black Music’s on
Top; White Jazz Stagnant”
2009 336 pp. cloth
Irving Kolodin, “The Dance Band
$24.95
Business: A Study in Black and
White”
4. Solo Pop Singers and New Forms
of Fandom
Bing Crosby (as told to Pete Martin),
from Call Me Lucky
* Martha Weinman Lear, “The Bobby
Sox Have Wilted, but the Memory
Remains Fresh”
Neil McCaffrey, “I Remember
M USIC A PPR E C I AT ION:
Frankee”
5. Hillbilly and Race Music
Kyle Crichton, “Thar’s Gold in Them
Hillbillies”
6. Blues People and the Classic Blues
LeRoi Jones, from Blues People: The
Negro Experience in White America
and the Music That Developed from It
7. The Empress of the Blues
Nat Shapiro and Nat Hentoff, from
Hear Me Talkin’ to Ya: The Story of
Jazz as Told by the Men Who Made It
8. At the Crossroads with Robert
Johnson, as Told by Johnny Shines
Pete Welding, “Interview with Johnny
Shines”
6
• Provides suggestions for further
reading and listening at the end
of each chapter
• Offers a comprehensive compan-
ion website (www.oup.com/us/
bracket) featuring sample assign-
t s
9. From Race Music to Rhythm and
Blues: T-Bone Walker
Kevin Sheridan and Peter Sheridan,
“T-Bone Walker: Father of the Blues”
10. Jumpin’ the Blues with Louis
Jordan
Down Beat, “Bands Dug by the Beat:
Louis Jordan”
Arnold Shaw, from Honkers and
Shouters: The Golden Years of Rhythm
and Blues
11. On the Bandstand with Johnny
Otis and Wynonie Harris
Johnny Otis, from Upside Your Head!
Rhythm and Blues on Central Avenue
Wynonie “Mr. Blues” Harris, “Women
Won’t Let Me Alone”
12. The Producers Answer Back: The
Emergence of the “Indie” Record
Company
Bill Simon, “Indies’ Surprise Survival:
Small Labels’ Ingenuity and Skill Pay
Off”
Arnold Shaw, from Honkers and
Shouters: The Golden Years of Rhythm
and Blues
13. Country Music as Folk Music,
Country Music as Novelty
Billboard, “American Folk Tunes:
Cowboy and Hillbilly Tunes and
Tunesters”
Newsweek, “Corn of Plenty”
PART 2: THE 1950s
14. Country Music Approaches the
Mainstream
Rufus Jarman, “Country Music Goes
to Town”
15. Hank Williams on Songwriting
Hank Williams (with Jimmy Rule),
from How to Write Folk and Western
Music to Sell
16. Rhythm and Blues in the Early
1950s: B.B. King
Arnold Shaw, from Honkers and
Shouters: The Golden Years of Rhythm
and Blues
ments, reading questions, an in-
troduction to the basic materials
of music, teaching tips, a sample
syllabus, and the suggestions for
further reading and listening
from the book
17. “The House That Ruth Brown
Built”
Ruth Brown (with Andrew Yule), from
Miss Rhythm: The Autobiography of
Ruth Brown, Rhythm and Blues Legend
18. Ray Charles, or, When Saturday
Night Mixed It Up with Sunday
Morning
Ray Charles and David Ritz, from
Brother Ray: Ray Charles’ Own Story
19. Jerry Wexler: A Life in R&B
Jerry Wexler and David Ritz, from
Rhythm and the Blues: A Life in
American Music
20. The Growing Threat of Rhythm
and Blues
Variety, “Top Names Now Singing the
Blues as Newcomers Roll on R&B
Tide”
Variety, “A Warning to the Music
Business”
21. Langston Hughes Responds
Langston Hughes, “Highway Robbery
Across the Color Line in Rhythm and
Blues”
22. From Rhythm and Blues to Rock
’n’ Roll: The Songs of Chuck Berry
Chuck Berry, from Chuck Berry: The
Autobiography
23. Little Richard: Boldly Going
Where No Man Had Gone Before
Charles White, from The Life and Times
of Little Richard: The Quasar of Rock
24. Elvis Presley, Sam Phillips, and
Rockabilly
Elizabeth Kaye, “Sam Phillips Interview”
25. Rock ’n’ Roll Meets the Popular
Press
New York Times, “Rock-and-Roll
Called Communicable Disease”
Time, “Yeh-Heh-Heh-Hes, Baby”
New York Times, “Rock ’n’ Roll’s Pulse
Taken”
Gertrude Samuels, “Why They Rock ’n’
Roll—and Should They?”
26. The Chicago Defender Defends
Rock ’n’ Roll
Rob Roy, “Bias Against Rock ’n’ Roll
Latest Bombshell in Dixie”
27. The Music Industry Fight Against
Rock ’n’ Roll: Dick Clark’s Teen-
Pop Empire and the Payola Scandal
Peter Bunzel, “Music Biz Goes Round
and Round: It Comes Out Clarkola”
New York Age, “Mr. Clark and Colored
Payola”
PART 3: THE 1960s
* 28. Brill Building and the Girl
Groups
Charlotte Greig, from Will You Still
Love Me Tomorrow? Girl Groups from
the 50s On . . .
29. From Surf to Smile
Brian Wilson (with Todd Gold), from
Wouldn’t It Be Nice: My Own Story
30. Urban Folk Revival
Gene Bluestein, “Songs of the Silent
Generation”
* Time, “Folk Singing: Sibyl with
Guitar”
31. Bringing It All Back Home:
Dylan at Newport
Irwin Silber, “Newport Folk Festival,
1965”
Paul Nelson, “Newport Folk Festival,
1965”
32. “Chaos Is a Friend of Mine”
Nora Ephron and Susan Edmiston,
“Bob Dylan Interview”
33. From R&B to Soul
James Baldwin, from The Fire Next
Time
Jerry Wexler and David Ritz, from
Rhythm and the Blues: A Life in
American Music
34. No Town Like Motown
Berry Gordy, from To Be Loved: The
Music, the Magic, the Memories of
Motown
35. The Godfather of Soul and the
Beginnings of Funk
James Brown (with Bruce Tucker), from
The Godfather of Soul
36. “The Blues Changes from Day
to Day”
Jim Delehant, “Otis Redding Interview”
37. Aretha Franklin Earns Respect
* Phyl Garland, “Aretha Franklin—
Sister Soul: Eclipsed Singer Gains
New Heights”
38. The Beatles, the “British
Invasion,” and Cultural
Respectability
William Mann, “What Songs the
Beatles Sang . . .”
Theodore Strongin, “Musciologically . . .”
* 39. A Hard Day’s Night and
Beatlemania
Barbara Ehrenreich, Elizabeth Hess,
and Gloria Jacobs, “Beatlemania:
Girls Just Want to Have Fun”
Andrew Sarris, “Bravo Beatles!”
40. England Swings, and the Beatles
Evolve on Revolver and Sgt. Pepper
Richard Goldstein, “Pop Eye: On
‘Revolver’”
Jack Kroll, “It’s Getting Better . . .”
41. The British Art School Blues
Ray Coleman, “Rebels with a Beat”
42. The Stones versus the Beatles
Ellen Willis, “Records: Rock, Etc.—the
Big Ones”
43. If You’re Goin’ to San Francisco . . .
Ralph J. Gleason, “Dead Like Live
Thunder”
44. The Kozmic Blues of Janis Joplin
Nat Hentoff, “We Look at Our Parents
and . . .”
45. Jimi Hendrix and the Electronic
Guitar
Bob Dawbarn, “Second Dimension:
Jimi Hendrix in Action”
46. Rock Meets the Avant-Garde:
Frank Zappa
Sally Kempton, “Zappa and the
Mothers: Ugly Can Be Beautiful”
47. Pop/Bubblegum/Monkees
Robert Christgau, from Any Old Way
You Choose It: Rock and Other Pop
Music, 1967–1973
48. The Aesthetics of Rock
Paul Williams, “Get Off of My Cloud”
Richard Goldstein, “Pop Eye:
Evaluating Media”
49. Festivals: The Good, the Bad, and
the Ugly
J.R. Young, “Review of Various Artists,
Woodstock”
George Paul Csicsery, “Altamont,
California, December 6, 1969”
PART 4: THE 1970s
50. Where Did the Sixties Go?
Lester Bangs, “Of Pop and Pies and
Fun”
51. The Sound of Autobiography:
Singer-Songwriters, Carole King
* Robert Windeler, “Carole King: ‘You
Can Get to Know Me Through My
Music’”
52. Joni Mitchell Journeys Within
Malka, “Joni Mitchell: Self-Portrait of
a Superstar”
53. Sly Stone: “The Myth of
Staggerlee”
Greil Marcus, from Mystery Train:
Images of America in Rock ’n’ Roll
Music
54. Not-so-“Little” Stevie Wonder
Ben Fong-Torres, “The Formerly Little
Stevie Wonder”
55. Parliament Drops the Bomb
W.A. Brower, “George Clinton:
Ultimate Liberator of Constipated
Notions”
56. Heavy Metal Meets the
Counterculture
John Mendelsohn, “Review of Led
Zeppelin”
* Ed Kelleher, “Black Sabbath Don’t
Scare Nobody”
57. Led Zeppelin Speaks!
Dave Schulps, “The Crunge: Jimmy
Page Gives a History Lesson”
58. “I Have No Message
Whatsoever”
Cameron Crowe, “David Bowie
Interview”
59. Rock Me Amadeus
Domenic Milano, “Keith Emerson”
Tim Morse, from Yesstories: Yes in Their
Own Words
60. Jazz Fusion
Miles Davis (with Quincy Troupe),
from Miles: The Autobiography
61. Get On Up Disco
Andrew Kopkind, “The Dialectic of
Disco: Gay Music Goes Straight”
62. Punk: The Sound of Criticism?
James Wolcott, “A Conservative
Impulse in the New Rock
Underground”
63. Punk Crosses the Atlantic
Caroline Coon, “Rebels Against the
System”
64. Punk to New Wave
Stephen Holden, “The B-52s’ American
Graffiti”
65. UK New Wave
Allan Jones, “The Elvis (Costello, That
Is) Interview”
PART 5: THE 1980s
66. A “Second British Invasion,”
MTV, and Other Postmodernist
Conundrums
Robert Christgau, “Rock ’n’ Roller
Coaster: The Music Biz on a Joyride”
67. Thriller Begets the “King of Pop”
Greg Tate, “I’m White! What’s Wrong
with Michael Jackson”
68. Madonna and the Performance
of Identity
Camille Paglia, “Venus of the Radio
Waves”
Jane Dark, “Madonnica”
69. Bruce Springsteen: Reborn in the
USA
David Marsh, “Little Egypt from
Asbury Park—and Bruce Springsteen
Don’t Crawl on His Belly, Neither”
Simon Frith, “The Real Thing—Bruce
Springsteen”
70. R&B in the 1980s: To Cross Over
or Not to Cross Over?
Nelson George, from The Death of
Rhythm and Blues
Steve Perry, “Ain’t No Mountain High
Enough: The Politics of Crossover”
71. Heavy Metal Thunders On!
J.D. Considine, “Purity and Power—
Total, Unswerving Devotion to
Heavy Metal Form: Judas Priest and
the Scorpions”
72. Metal in the Late Eighties: Glam
or Thrash?
Richard Gehr, “Metallica”
73. Postpunk Goes Indie
Al Flipside, “What Is This Thing Called
Hardcore?”
74. Indie Brings the Noise
Kim Gordon, “Boys Are Smelly: Sonic
Youth Tour Diary, ‘87”
75. Hip Hop, Don’t Stop
Robert Ford, Jr., “B-Beats Bombarding
Bronx: Mobile DJ Starts Something
with Oldie R&B Disks”
Robert Ford, Jr., “Jive Talking N.Y. DJs
Rapping Away in Black Discos”
Time, “Bad Rap”
76. “The Music Is a Mirror”
Harry Allen, “Hip Hop Madness: From
Def Jams to Cold Lampin’, Rap Is
Our Music”
Carol Cooper, “Girls Ain’t Nothin’ but
Trouble”
77. Where Rap and Heavy Metal
Converge
Jon Pareles, “There’s a New Sound in
Pop Music: Bigotry”
PART 6: THE 1990s AND BEYOND
78. Hip-Hop into the 1990s:
Gangstas, Fly Girls, and the Big
Bling-Bling
J.D. Considine, “Fear of a Rap Planet”
79. Nuthin’ but a “G” Thang
Touré, “Snoop Dogg’s Gentle
Hip Hop Growl”
80. Keeping It a Little Too
Real
Sam Gideon Anso and Charles
Rappleye, “Rap Sheet”
Selwyn Seyfu Hinds, “Party
Over”
Natasha Stovall, “Town Criers”
81. Sample-Mania
Neil Strauss, “Sampling Is (a)
Creative or (b) Theft?”
82. Women in Rap
Christopher John Farley, “Hip-
Hop Nation”
83. The Beat Goes On
Renee Graham, “Eminem’s
Old Words Aren’t Hip-Hop’s
Biggest Problem”
84. From Indie to Alternative
to . . . Seattle?
Dave DiMartino, “A Seattle
Slew”
85. Riot Girl
Bikini Kill, “riot grrrl”
86. Grunge Turns to Scrunge
Eric Weisbard, “Over & Out:
Indie Rock Values in the Age
I N T R O D U C T I O N TO A M E R I C A N P O P U L A R M U S I C
of Alternative Million Sellers”
87. A “Postalternative” Icon
Jonathan Van Meter, “The
Outer Limits”
88. “We Are the World”?
George Lipsitz, “Immigration
and Assimilation: Rai, Reggae,
and Bhangramuffin”
89. A Talking Head Writes
David Byrne, “Crossing Music’s
Borders: I Hate World Music”
90. Genre or Gender? The
Resurgence of the Singer-
Songwriter
Robert L. Doerschuk, “Tori
Amos: Pain for Sale”
91. Public Policy and Pop
Music History Collide
Jenny Toomey, “Empire of the
Air”
92. Electronica Is in the House
Simon Reynolds, “Historia
Electronica Preface”
93. R&B Divas Go Retro
Ann Powers, “The New
Conscience of Pop Music”
94. Fighting the Power in a Post-
9/11 Mediascape—The Dixie
M USIC A PPR E C I AT ION:
Chicks
* Charles Taylor, “Chicks Against
the Machine”
95. The End of History, the
Mass-Marketing of Trivia, and
a World of Copies Without
Originals
* Jay Babcock, “The Kids Aren’t
All Right . . . They’re Amazing”
* Sasha Frere-Jones, “1 + 1 + 1 = 1:
The New Math of Mashups”
Selected Bibliography
Index
2008 608 pp. paper
APS BRACK2
978-0-19-536593-1 $29.95
7
 THE
AN INNOVATIVE SERIES FEATURING ENGAGING I
Music in
Mainland
Southeast Asia
G av in Douglas,
The Universit y of North
Carolina at Greensboro
Placing the music of this region with-
in a social, cultural, and historical
context, Music in Mainland South-
east Asia is the first brief, stand-
alone volume to profile the under-
represented musical traditions of
Burma, Cambodia, Thailand, and
Vietnam. It also contains the first
introduction to Burmese music ever
presented in a music textbook. Gavin
I N T R O D U C T I O N TO WO R L D M U S I C
Douglas frames this survey within
three key themes: music and diver-
sity, music and political turmoil, and
music and globalization. He also
uniquely focuses on the people who
practice these musical traditions—
rather than the locales from which
the traditions originate—also fol-
lowing the individuals out of their
native lands and into diasporic com-
munities throughout the world.
November 2009 144 pp. paper
APS DOUSEA 978-0-19-536782-9
$24.95
Native American
Music in Eastern
M USIC A PPR E C I AT ION:
North America
Bev erley Diamond,
Memorial Universit y of
Newfoundland
Visit www.oup.com/us/
globalmusic for more One of the first books to explore the
contemporary musical landscape of
information, including
indigenous North Americans in both
instructional materials to
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accompany each study.
2007 208 pp. paper APS DIANAT
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8
GLOBAL M
ON HOW PEOPLE MAKE MUSIC MEAN
Music in the
Hispanic
Caribbean
Robin Moore ,
Universit y of Texas at
Austin
The first brief, stand-alone vol-
ume to explore the music of Cuba,
Puerto Rico, and the Dominican
Republic, Music in the Hispanic
Caribbean provides a vibrant intro-
duction to diverse musical styles in-
cluding salsa, merengue, reggaeton,
plena, Latin jazz, and the bolero.
Robin Moore examines how the
cultural legacy of the slave trade, the
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styles, and diaspora, migration, and
movement have impacted Hispanic
Caribbean music.
November 2009 256 pp. paper
APS MOMHC1 978-0-19-537505-3
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Music in the
Andes
T homas T urino,
Universit y of Illinois at
Urbana- Champaign
A comprehensive overview of the
uniquely rich and diverse musical cross-
roads of southern Peru and Bolivia
2007 176 pp. paper APS TURINO
978-0-19-530674-3 $24.95
Music in China
Frederick L au,
Universit y of Hawaii at
Manoa
A balanced look at traditional and mod-
ern genres of Chinese music, including
those performed among local and re-
gional folk musicians, in academia, in
the media, and on concert stages
2007 208 pp. paper APS LAUCHI
978-0-19-530124-3 $24.95
Music in Central
Java
Benjamin Brinner,
Universit y of California ,
Berkeley
A vivid introduction that demonstrates
how three themes—flexibility, appro-
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characterize Java’s musical practices
and traditions
2006 192 pp. paper APS BRIJAV
978-0-19-514737-7 $24.95
Music in Brazil
John P. Murphy,
Universit y of North Texas
A thorough overview of Brazilian mu-
sic, covering such diverse styles as sam-
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traditional and popular music
2005 192 pp. paper APS MURBRA
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Mariachi Music in
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Daniel Sheehy
A unique introduction that offers
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2005 128 pp. paper APS SHEEHY
978-0-19-514146-7 $24.95
Music in Japan
Bonnie C . Wade ,
Universit y of California ,
Berkeley
A comprehensive look at the music of
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2004 208 pp. paper APS WADJAP
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MUSIC SERIES
NTRODUCTIONS TO WORLD MUSIC THAT FOCUS
INGFUL AND USEFUL IN THEIR LIVES
Music in North
India
George E . Ruckert,
Massachusetts Institute of
Technolog y
An overview of North India’s numer-
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ancient Vedas and modern devotional
singing
2003 112 pp. paper APS RUCKERT
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Music in West
Africa
Ruth M. Stone ,
Indiana Universit y
An introduction to the fundamental
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performance in Liberia, West Africa,
among the Kpelle people
2004 128 pp. paper APS STONEM
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Music in South
India
The K ar nā
. ta
. k Concert
Tr adition a nd Beyond
the late T. VISWANATHAN,
Wesleyan Universit y,
a nd M atthew H arp
A llen, Wheaton College
A vivid and focused introduction cen-
tering on Karnā
. tak
. concert music, a
unique performance practice of South
India
2003 176 pp. paper APS VISWAN
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Music in Bali
Lisa Gold, San Francisco
Conservatory of Music
An engaging overview of the Balinese
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rich past to its current role in modern
society
2004 208 pp. paper APS GOLBAL
978-0-19-514149-8 $24.95
Music in America
A delaida R eyes,
New Jersey Cit y Universit y
A thorough examination that focuses
on the ways in which identity, diversity,
and unity impact American music
2004 144 pp. paper APS REYES
978-0-19-514667-7 $24.95
Music in Ireland
Dorothea E . H ast,
Eastern Connecticut State
Universit y, a nd Stanley
Scott, Southern
Connecticut State Universit y
a nd Wesleyan Universit y
A compelling introduction to tradi-
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2003 176 pp. paper APS HAST
978-0-19-514555-7 $24.95
ALSO of INTEREST
Shadows in the Field
New Per spectiv es for Fieldwor k in
Ethnomusicology
Second Edition
Gregory F. Barz, University of California, Santa
Barbara, and Timothy J. Cooley, Vanderbilt University
2008 352 pp. paper APS BARCO2 978-0-19-532496-9 $29.95
Music in East
Africa
Gregory Barz ,
Vanderbilt Universit y
An entertaining look at the music of
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2003 160 pp. paper APS BARZ
978-0-19-514152-8 $24.95
Carnival Music in
Trinidad
Shanon Dudley,
I N T R O D U C T I O N TO WO R L D M U S I C
Universit y of Washington
An examination of the history and aes-
thetics of calypso, steelband, soca, and
other genres
2003 128 pp. paper APS DUDLEY
978-0-19-513833-7 $24.95
Music in Bulgaria
Timothy Rice, UCLA
An exploration of Bulgaria’s rural tra-
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practices have affected the expression
and interpretation of regional music
2003 144 pp. paper APS RICEMU
978-0-19-514148-1 $24.95
M USIC A PPR E C I AT ION:
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9
 Framing Volume in the Global Music Series
Thinking Musically
Exper iencing Music, Expr essing Cultur e
Second Edition
Bonnie C . Wade , Universit y of California , Berkeley

D esigned for undergraduates and

general readers with little or no
background in music, Thinking Musi-
FE AT U R E S of the SECON D EDIT ION
• Two in-text CDs • Expanded discussion of field-
cally, Second Edition, incorporates
• Extended coverage of the influ- work (Chapter 7)
music from many diverse cultures and
ence and pressures of gender and • A
 dditional and improved ped-
establishes the framework for explor- mass media on the form, content, agogical and supplemental
ing the practice of music around the and performance of music materials, including additional
world. The text examines musical  p-to-date material on current
• U photographs, new activities, and
trends influencing music (e.g., more references to volumes of the
instruments and the fundamental
YouTube, MySpace, and digital Global Music Series (pp. 8–9)
elements of music, also considering
downloading)
the impact of cultural factors such
as gender and ethnicity.
2008 256 pp. paper APS WADMU2
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I N T R O D U C T I O N TO M U S I C A PP R E C I AT I O N

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10 M USIC A PPR E C I AT ION:

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Teaching Music Globally
Exper iencing Music, Expr essing Cultur e
Patricia Shehan Campbell, University of Washington, and BONNIE C. WADE, University of
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D eveloped in conjunction with Thinking Musically (above) and the Global Music Series (pp. 8–9), Teaching Music
Globally provides teachers and students of music education with ideas and techniques for engaging their students in
the study of the world’s musical cultures.
2004 258 pp. paper APS CAMPPK 978-0-19-517143-3 $45.95
Conducting
The Art of Communication
Wayne Bailey, Arizona State Universit y

C onducting: The Art of Communication provides the most comprehensive treatment available on all aspects
of instrumental conducting: technical, analytical, and expressive. Designed to be used in both beginning and
advanced conducting courses, this comprehensive text contains numerous error detection and score study exercises—
and a unique CD for instructors.

“Finally we have a conducting FE AT U R E S

text available that is comprehen-
sive, understandable, and com-
pletely practical for undergradu-
ate conducting classes!”—Tom
O’Neal, University of Missouri,
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• Offers
 innovative exercises that
combine standard literature with
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• Features unique aural skills and
error detection exercises that
help develop the conductor’s ear
• Includes a glossary of conduct-
ing terms and transposition and
clef charts
• Includes instruction in and
examples of score study for
rehearsal and performance
purposes
• Presents exercises on a CD—
in the music notation program
Finale—so that instructors can
manipulate and print the exer-
cises to make custom orches-
trations

c o n t e n t s
ALSO of INTER EST
Preface Gesture Box Cues Clefs and Chapter 10
Transpositions
UNIT I. Chapter 4 Fermata Exercises, Rhythmic
INTRODUCTION Score Study Errors, and Errors
Preparatory Gestures Tenuto
TO THE ART OF of Pulse
Rehearsal Planning
CONDUCTING Three Pattern Tempo Fluctuations
Exercises, Note Errors
Marking the Score
Chapter 1 Two Pattern Syncopated Entrances
Exercises, Intonation
Chapter 8
Purpose and Training Four Pattern Mixed Patterns Errors
of Conductors Sample Score
Five and Seven Unmetered and Exercises, Dynamic
Analyses, Mozart
Development of Patterns Timed Passages and Articulation
Symphony No. 35
Conducting Six Pattern Use of the Left Hand Errors
First Suite in E-Flat,
Chapter 2 Pick-Up Beats Chapter 6 Exercises, Errors of
Gustav Holst
All Types
Language of Basic Releases Facial Expressions UNIT IV. ERROR
Conducting Bibliography
Use of the Left Hand Posture and Body DETECTION AND
Chapter 3
Subdivision of Beats
Language CORRECTION Index Basic Techniques
Podium Posture
UNIT II.
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 Directing the Choral Music Program
K enneth H. Phillips, Gordon College a nd The Universit y of Iowa

B road in scope and practical in orientation, Directing the Choral Music Program is a comprehensive introduction
to developing and managing choral music programs from elementary through high-school and adult levels.

c o n t e n
Each section concludes with Optional
Projects. Each chapter includes
Study and Discussion Questions and
References.
Preface
I. Choral Administration
1. Becoming a Choral Music Director
2. Developing a Philosophy for the
Music Program
C H O R A L M E T H O D S / E L E M E N TA RY / M I D D L E S C H O O L M E T H O D S
t s*
II. Rehearsal and 17. Rehearsing the Choir
Performance Planning
18. Understanding Styles and
7. Working with Adolescent Singers Performance Practices
8. Planning for Discipline and Choir 19. Presenting the Performance
Conduct
20. Directing Other Choral
9. Choosing the Music Organizations
10. Preparing the Choral Rehearsal Epilogue: Moving into the Workplace
and Music
21. Planning for Success, Eugene F.
11. Organizing Performances Bechen

3. Promoting and Recruiting for Choral 12. Popular Music Presentations Appendixes
Success
III. Choral Techniques Index
4. Planning and Building the Choral
13. Vocal Development, Part 1 * For a complete Table of Contents, please
Program
14. Vocal Development, Part 2 visit www.oup.com/us/he.
5. Processing the Flow of Information
15. Energizing the Choral Warm-Up 2003 432 pp. cloth APS PHIDIR
6. Managing the Choral Program
978-0-19-513282-3 $65.95
16. Teaching Sight-Singing Skills

Teaching General Music in Grades 4–8

A Musici a nship A pproach
Thomas A . R egelski, State Universit y of New York, Fredonia

A n ideal core text for both elementary and middle

school general music methods courses, Teaching
General Music in Grades 4–8 discusses the important
physical, psychological, cognitive, and social developmen-
tal changes that students ages 9–14 undergo—and the
implications of these changes for instruction in a variety
of school organizational formats. Offering music educa-
tors both broad and detailed guidelines to fit the needs
of this challenging age group, Thomas A. Regelski takes
“The authors challenge us
a “musicianship approach” that regards general musical
(students and faculty) to
classes for these grades as an apprenticeship for lifelong
think anew about issues
musical involvement.
12 M USIC E DUC AT ION:
FE AT U R E S
• Offers “protocols” that allow instructors to design
their own lessons and tailor them to suit numerous
conditions
• Concludes each chapter with a down-to-earth “Nuts
‘n’ Bolts” section containing advice and recommen-
dations
• Includes a glossary of key terms and ideas in music
education
• Provides appendices containing a model curriculum,
resources, and tips for using MIDI-based instruction
and software

that we may have con-

sidered settled.”—Birch 2004 320 pp. cloth APS REGELS 978-0-19-513778-1 $69.95

Browning, Cleveland State

University

For the fastest way to request an examination copy, visit www.oup.com/us/he.

Please mention Promotion Code HEMU10 in your request.
An expert examination of critical issues that links contemporary
theory with practice

Critical Issues in Music Education New!

Contempor ary Theory a nd Pr actice
Edited by H arold F. A beles a nd Lori A . Custodero, both at Teachers College,
Columbia University

C ritical Issues in Music Education: Contemporary The-

ory and Practice examines the rich and challenging
complexities of music teaching and learning from a variety
of perspectives. With individual expertise in fields includ-
ing assessment, philosophical foundations, technology,
mentoring, critical theory, and musical development, the
contributing authors are graduates or faculty at the highly
regarded Teachers College of Columbia University. In this
text, they link current educational theory to pedagogical
inquiry of current educational practice, calling for teach-
ers to critically reflect on such professional activities as
lesson planning, curriculum design, repertoire choice,
and student evaluation.
Designed for upper-level undergraduate and introduc-
tory graduate courses, Critical Issues in Music Education
provides beginning music educators with comprehensive
grounding in research-based practice. It also gives more
experienced teachers new lenses to help them innovate,
interpret, and lead in their profession.
“The best of the best writers
FE AT U R E S contribute to this book, which
• Links theory to teaching practice through a variety is highly worthwhile and invit-
of perspectives ing. It contains a wealth of ideas
• Traces the historical, philosophical, and social under- and experience from the most
pinnings of current beliefs, theories, and practices respected experts in the field of
• Suggests reflective tools and professional development music education.”
strategies for music teachers —Lynn Brinckmeyer, Texas
• Includes discussion starters, project ideas, and sug- State University-San Marcos
gested readings at the end of each chapter

c o n t e n t s
Preface Aesthetic Philosophy Developmental Characteristics 10. Choosing Music 13. The Inquiring Music

Contributors
1. Historical Contexts of
Music Education, Harold
F. Abeles
Introduction
Music Education in the First
Half of the 20th Century
Federal Education Policy
and Music Education:
1950–Present
Equity Issues in Music
Education: 1950–Present
Summary
2. Music as Socio-Cultural
Phenomenon, Roberta Lamb
Introduction: “A Framework of
Explanations”
Sociology in Education, Music,
and Music Education
Formalism: Functionalist
(Durkheim) and Rationalized
(Weber)
Critical Theory, The Frankfurt
School, and Critical Pedagogy
Interaction Theories in
Education and Music
Social Justice: Interactions with
Webs of Difference
Web of Postmodernism in
Education
Technology Transforming
Music Education
Summary
3. Philosophical Perspectives
of Music Education,
Randall Allsup
Introduction
Philosophy and Education
Philosophical Rationales for
Music in the Schools
Conclusion
4. Meaning and Experience:
The Music Learner, Lori
Custodero
Introduction
Musical Meaning and
Embodiment
Processing Experience:
Cognitive Structures and
Connections
The “Creating” Mind:
Meanings through
Constructing and Interpreting
Music
Key Issues in Music Learning
Meaningful Engagement in
Music Teaching and Learning
5. The Learner in Community,
Patricia St. John
The Community of Learners
Learning Strategies in
Community
Communities of Musical
Learning
Summary
6. Music Learning and
Musical Development,
Lori Custodero
Introduction
Key Issues in Musical
Developmental
General Theories of
Development and Musical
Applications
Pathways and Patterns of
Musical Development
of Music Learners
Summary: On Being and
Becoming Musical
7. Curriculum, Cathy Benedict
Introduction
Scientific and Technical
Rationality
Curriculum Reconceptualized
“Multicultural” Curriculum
Some Concluding Remarks
8. Assessing Music Learning,
Harold Abeles
Introduction
Considerations of Assessment
Assessing the Outcomes of
Music Instruction
Alternative Approaches to
Assessing the Outcomes of
Music Instruction
Standardized Testing in Music
State and National Assessments
of the Outcomes of Music
Instruction
Evaluating School Music
Programs
Conclusion
9. Methods and Approaches,
Cathy Benedict
Introduction
Emile Jacques-Dalcroze
Kodaly
Carl Orff
Shinichi Suzuki
Edwin Gordon
General Issues and Lingering
Thoughts
Literature, Randall Allsup
Introduction
The Problems of Tradition
The Problems of Change
Teacher Judgment
Summary
11. Music Education
Technology, James Frankel
Technology in the Music
Classroom
Classroom Environments
Computer-Aided Instruction
Music Production Software
New Instruments
New Media—New Directions
Conclusions
12. Music Teacher Education
in the 21st Century:
Developing Leaders in the
Field, Colleen Conway
Introduction
Music Teacher Education
Research Context
Music Teacher Education Policy
Context
Recruitment of Music
Education Majors into the
Preservice Program
General Issues in Music Teacher
Education Curriculum
Supporting Beginning Music
Teachers
Challenges of the First Years
Conclusion
F O U N DAT I O N S O F M U S I C E D U C AT I O N
Teacher, Harold Abeles and
Colleen Conway
Introduction
Sources of Research in Music
Education
Approaches to Research
Quantitative Approaches to
Research
Historical Research
Qualitative Research
Action Research and Teachers
as Researchers
Summary
14. Framing a Professional
Life: Collaboration and
Leadership, Harold Abeles,
Colleen Conway, and Lori
Custodero
Introduction
Collaborations
Involvement in Local, State,
13 M USIC E DUC AT ION:
Regional, and National
Professional Music
International Opportunities for
Professional Development
Envisioning a Career Path
Advocating and Initiating
Change: Providing Leadership
Developing as a Professional
Conclusion
References
Index
October 2009 416 pp. cloth
APS ACIME1
978-0-19-538815-2 $69.95
 Exploring Research in Music Education and
Music Therapy
K enneth H. Phillips, Gordon College a nd The Universit y of Iowa

T his practical text provides a comprehensive introduc-

tion to understanding research in music education
and music therapy. Designed primarily for the introduc-
tory research course taken by upper-level undergraduates
and graduate students, it is also useful for all interested
undergraduates in both fields. In contrast with tradi-
tional “how to” textbooks, Exploring Research in
Music Education and Music Therapy adopts a unique
“how to read and comprehend” approach to music
research. It helps students explore and understand articles
in professional research journals, familiarizing them with
the literature itself and with basic concepts, terms, and
statistical symbols.
“I would like to say bravo for putting this text
together. I think we need it in our field, and I ap-
preciate the level-headed approach. Phillips does a
good job of covering all the methodologies.”
—Diana Hollinger, San Jose State University
“This book would fit beautifully into our gradu-
ate program. Phillips has hit the nail on the head
by including introductions to research types with
actual examples from the literature. . . . I appreci-
ate how Phillips pushes students into new areas
without frightening them. I applaud the inclusion
of qualitative and action research. I would adopt
this text into a music education research course in
a second.”—Bruce Gleason, University of
St. Thomas

c o n t e n t s*
Each Chapter ends with Study and Part Three: Qualitative Part Five: Research and the
Discussion Questions and Suggested Research Classroom
Activities. 6. Principles of Qualitative Research 15. Action Research
Preface 7. Critical Reading of Qualitative 16. Integrating Research and Teaching
Part One: Research Basics Research
Epilogue
1. Research in Music Education and 8. Reflecting On Qualitative Research
Glossary
RESEARCH METHODS

Music Therapy Part Four: Quantitative

2. The Research Study
3. Reading Research: A Commentary
Part Two: Historical and
Philosophical Research
4. Historical Research
5. Philosophical Research
14 M USIC E DUC AT ION:
Research
9. Principles of Quantitative Research
10. Analysis of the Data
11. Quantitative Research: Descriptive
12. Quantitative Research:
Experimental
13. Quantitative Research: Clinical
14. Mixed Methods Research
References
Index
* For a complete Table of Contents, please
visit www.oup.com/us/he.
2007 384 pp. paper APS PHIRES
978-0-19-532122-7 $39.95

For the fastest way to request an examination copy, visit www.oup.com/us/he.

Please mention Promotion Code HEMU10 in your request.
The ONLY book that teaches strings with a unique in-text DVD!
Strategies for Teaching Strings
Building a Successful Str ing a nd Orchestr a Progr a m
Second Edition
Donald L . H amann, Universit y of Arizona , a nd Robert Gillespie , The Ohio
State Universit y

“This text represents the highest standard for

string pedagogy writing. . . . with the DVD it is
even more successful as a teaching tool. Bravo!”
—Brenda Brenner, Indiana University
N E W to the SECOND EDIT ION
• In-text DVD demonstrating playing techniques,
fingering positions, and teaching strategies in ac-
tion; these are keyed to the text by clip numbers
and marginal icons

T his is an essential guide for prospective, novice,

and experienced string teachers alike. Now featur-
ing an integrated DVD, this comprehensive text covers
• New
 and updated lists of resources at chapter
ends, including new resources for jazz improvisa-
tion in Chapter 8
ALSO of INTER EST
performance objectives, strategies for teaching technical • Expanded appendices
and performance skills, and solutions to common play- • A more extensive history of string instruments Geared for the general in-
ing problems for elementary, middle, and high school in Chapter 1 strumental music educator,
these texts provide handy,
skill levels. • Thorough updating of Chapter 10 to include
easy-to-use pedagogical
the most recent literature on method books and
resources for school instru-
music for the school orchestra program
mental programs.

c o n t e n t s*
Preface 9. String Student Recruitment and Appendix D: Additional Pedagogical
Retention Resources
1. The String Instrument Family
10. Method Music and Books for the Index
2. The School Orchestra Program
School Orchestra
* For a complete Table of Contents, please
3. Beginning String Class Instruction
Additional Resources visit www.oup.com/us/he.
4. Intermediate String Class Instruction
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 The ONLY book designed to help graduate students teach
undergraduates
Teaching Music in Higher Education
Colleen Conway, Universit y of Michigan, a nd Thomas Hodgman, Adrian
College

G raduate students already know what to teach when

they begin teaching undergraduates, but often find
they lack the knowledge of how to teach it. Teaching Music
“The material definitely reflects contemporary
ideas in the field. The focus on learner-centered
instruction, while not new to education in general,
in Higher Education is the only book designed specifically
is very new to music instruction in higher educa-
to help graduate students in music teach undergraduates
tion and needed. The text is well documented with
(both music- and non-music majors).
“I think you have a winner current resources.”—Harold Abeles, Columbia
Covering all aspects of the process—from the first class University
in this text. . . . I would
taught through obtaining tenure and promotion—this
stress the thorough cover-
book effectively answers a host of questions that begin- “The writing style is quite accessible and appropri-
age of a number of im-
ning instructors are likely to have. The authors emphasize ate for my students. It is written in a personal and
portant topics that young
innovation and learner-centered pedagogy, stressing a conversational manner that will be more motiva-
professors face in their
teaching style tailored to meet individual student needs. tional to read. . . . [I would cite] the breadth of
journey from their gradu-
Beginning music instructors learn how to organize and important topics covered for the novice collegiate
ate student years to first
explain materials in ways appropriate to students’ abilities; instructor, from the job hunt, through issues of
position as a lecturer/in-
create an environment for learning; help students become teaching and learning, to matters of promotion
structor/assistant professor
autonomous self-regulated learners; and reflect upon and and tenure, [and] the excellent practical examples
to achieving a promotion
evaluate their own teaching. This book shows graduate and student vignettes.”—Don Ester, Ball State
as tenured associate profes-
students how to accomplish all of these goals and more. University
sor. . . . Graduate students
T E AC H I N G I N H I G H E R E D U C AT I O N

would value and evaluate

this text positively.”
—Bernard Dobroski,
Northwestern University
16 M USIC E DUC AT ION:
FE ATUR ES
• Materials for organizing a course, including a course preparation guide with sample syllabi, an outline of a
typical course sequence for a music major, sample performance assessment tools, and sample forms for student
midterms and final evaluations
• Vignettes written by undergraduate music majors and reflections from successful music faculty
• Advice for the job search and professional development
• A sample Faculty Activities Report for music professors and a sample tenure and promotion materials
packet
• National Association of School of Music (NASM) requirements and teacher education requirements for music
education majors
• Suggestions for further reading at the end of each topic

c o n t e n t s*
Preface 6. Instructional Strategies for Academic 11. Feedback from Students and
Courses Reflection on Teaching
Part I. Course Planning and
Preparation 7. Strategies for Active Learning in 12. Navigating a Career in Higher
Music Classrooms Education
1. Designing an Undergraduate Music
Course 8. Teaching Applied Music 13. Professional Development &
Improvement of Teaching
2. Assessment and Grading in Music 9. Toys or Tools? Instructional
Courses Technology References
3. Understanding the Learners Part III. Growth in Index
Teaching Practice and
4. Sample Syllabi for Music Courses * For a complete Table of Contents, please
a Future in Higher
visit www.oup.com/us/he.
Part II. Teaching and Education
Learning 2008 256 pp. paper APS CONTEA
10. The Job Search in Higher Education
5. Creating a Culture for Learning 978-0-19-536935-9 $29.95
A Vivid Introduction to European Music from 1600 through 1750
Music of the Baroque
Second Edition
Dav id Schulenberg, Wagner College

M usic of the Baroque, Second Edition, and its accompanying anthology of scores (below) offer a vivid introduc-
tion to European music from 1600 through 1750. Integrating historical and cultural context with composer
biography, music analysis, and performance practice, the text surveys Baroque music while analyzing in depth more
than forty works from the principal traditions of the period.

c o n t e n t s*
Preface 5. Secular Vocal 10. Music for Solo 13. Music for * For a complete Table of
Music of the Later Instruments I: Instrumental Contents, please visit
1. Introduction Seventeenth Century Toccata and Suite Ensemble II: www.oup.com/us/he.
2. A Sixteenth-Century Sinfonia and Concerto
6. Lully and French 11. Music for Solo 2007 416 pp. cloth
Prologue: Motet and Musical Drama Instruments II: 14. A Mid-Eighteenth-
Madrigal Fugues and Pièces Century Epilogue: APS BARTX2
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Instrumental Bibliography
8. Late Baroque Opera Ensemble I:
4. Monteverdi and Early Index
Baroque Musical 9. Late Baroque Sacred The Sonata
Drama Music

Music of the Baroque

A n A nthology of Scor es
Second Edition
Dav id Schulenberg, Wagner College

T his anthology includes works by such celebrated Baroque composers as Bach, Handel, Lully, Monteverdi, and
Schütz while also featuring compositions by lesser-known composers including Barbara Strozzi and Elizabeth-
Claude Jacquet de La Guerre. This second edition complements the textbook’s emphasis on performance practice
while adding important instrumental works for lute, chamber ensemble, and trumpet with strings, as well as excerpts
from a grand motet.
25. Elizabeth-Claude Jacquet 36. Arcangelo Correlli:
c o n t e n t s de La Guerre: Prélude from Sonata in C for Violin and
Preface 13. Giovanni Gabrieli: In Suite III in A Minor Continuo, op. 5, no. 3
ecclesiis (concertato motet) 26. Dietrich Buxtehude: 37. Torelli: Sinfonia in D
1. Giovanni Pierluigi da
Palestrina: Dum complerentur 14. Heinrich Schütz: Herr, Nun bitten wir den heiligen for Trumpet, Strings, and
(motet) neige deine Himmel, SWV Geist, BuxWV 208 (chorale Continuo, G. 8
361 (concertato motet) prelude)
2. Orlande de Lassus: Timor et 38. Arcangelo Corelli:
tremor (motet) 15. Heinrich Schütz: Saul, 27. Dietrich Buxtehude: Concerto Grosso in G
Saul, was verfolgst du mich?, Praeludium in A Minor, Minor, op. 6, no. 8,
3. Don Carlo Gesualdo, Prince BuxWV 153 “Christmas”
SWV 415 (concertato motet)
of Venosa: Beltà, poi che

t’assenti (madrigal)
4. Claudio Monteverdi: Luci
serene (madrigal)
5. Giulio Caccini: Sfogava con
le stele (continuo madrigal)
6. Claudio Monteverdi: Orfeo,
Act 2 (opera: selections)
7. Claudio Monteverdi: Il
combattimento di Tancredi e
16. Giacomo Carissimi: Jepthe
(oratorio: selections)
17. Michel-Richard de Lalande:
De profundis (grand motet,
selections)
18. George Frideric Handel:
Orlando (opera: selections)
19. Jean-Phillipe Rameau: Les
indes galantes (opéra-ballet:
28. Johann Sebastian Bach:
Prelude and Fugue in G,
BWV 860, from The Well-
Tempered Clavier, Part 1
29. Jean-Henri d’Anglebert,
François Couperin, and Jean-
Phillipe Rameau: Extracts
from ornament tables
30. François Couperin: Vingt-
unième ordre (keyboard
BAROQUE MUSIC
39. Antonio Vivaldi: Concerto
in E for Violin, Strings, and
Continuo, op. 3, no. 12 (R.
265)
40. Johann Sebastian Bach:
Brandenburg Concerto no.
2 in F, BWV 1047
41. Georg Philipp Telemann:
Nouveau quatour no. 6 in
E Minor for Flute, Violin,
17 M USIC H I S TORY:

selections) suite: selections) Viola da Gamba (or Cello),

Clorinda (balletto or dramatic
madrigal)
8. Pier Francesco Cavalli:
Giasone (opera: selections)
9. Barbara Strozzi: Ardo in
tacito foco (cantata or strophic
aria)
10. Alessandro Scarlatti: Correa
nel seno amato (cantata:
selections)
11. Henry Purcell: From Rosy
Bowers (catata)
12. Jean-Baptiste Lully: Armide
(opera: selections)
20. Johann Sebastian Bach: and Continuo, TWV 43: e4
31. Salamone Rossi: Sonata
Herr Jesu Christ, wahr’r sopra La Bergamusca 42. Carl Philipp Emanuel
Mensch und Gott, BWV 127 Bach: “Württemberg”
32. Dario Castello: Sonata 12
(sacred cantata) Sonata” no. 1 in A Minor for
from Libro I
21. George Frederic Handel: Keyboard, W. 49/1
33. Biagio Marini: Sonata
Jephtha (English oratorio:
Variata for Violin and 2007 400 pp. paper
selections)
Continuo APS BARAN2
22. Ennemond Gaultier, Pieces 978-0-19-533116-5 $59.95
34. Hans Ignaz Franz Biber:
for Lute
Sonata 5 in E Minor for
23. Girolamo Frescobaldi: Violin and Continuo
Toccata 7 (from Libro II)
35. Giovanni Legrenzi: Sonata
24. Johann Jacob Froberger: La Strasolda for Two Violins
Suite 20 in D and Continuo
 New Edition! Now available from Oxford University Press . . .

Ideas and Styles in the Western Musical

Tradition
T hird Edition
Douglass Seaton, The Florida State Universit y

A “-Free” Book of Music History: In addition, the thoroughly updated and revised
Anthology-Free, List-Free, and third edition:
Clutter-Free • Includes the most current historiography

I deas and Styles in the Western Musical Tradition, Third • C

“Seaton’s writing style is
very fine—elegant and clear
—an excellent model. . . . It
really is interesting to read,
and it leaves a lot of room
for the instructor to choose
the listening selections.”
—Carol Padgham
Albrecht, University
of Idaho
SU PPORT
PA C K A G E
The third edition is
also enhanced by a new
H I S TO RY O F W E S T E R N M U S I C
 larifies the interconnections and divisions between
musical periods, moving away from “periodiza-
Edition, explores the conceptual frameworks that have tion” terms
shaped musical development from antiquity to the present.
• Offers an updated and comprehensive timeline
In a lively narrative that prompts readers to think both
• E
 xpands the final chapter with additional recent
critically and creatively, Douglass Seaton uses historical works and more reflection on postmodernism
documents from thinkers, artists, and musicians to add
• F
 eatures a unique anthology-free design that al-
rich detail to the compelling story of Western music. This lows instructors the flexibility to choose their own
brief and accessible narrative of music history features musical examples (a correlation guide to the major
score anthologies is included in the Companion
numerous works of art, literature, and music that immerse
Website)
the reader in the historical and intellectual contexts of
musical styles.
c o n t e n t s*
1. Music in the Life and Instruments The Hundred Years’ War The Reformation in England
Philosophy of Ancient and English Music on the
Greece The Use of Instruments Continent The Counter-Reformation
Greek Music Theory 5. The Development of The New Style on the Faith, Music, and the Power
Music in Ancient Rome
Polyphony Continent of Words
The Significance of The Idea of a New Music 11. The Close of the
2. The Early Christian Polyphony Sixteenth Century
Period 8. The Spread of New
Carolingian Polyphony Musical Ideas and Italian Music at the End of

The Growth of the Christian Practices to 1600 the Sixteenth Century

Companion Website
(www.oup.com/us/seaton)
with study aids, chapter
synopses, review and quiz
materials, questions for
study and reflection, lis-
tening recommendations,
guidance for research and
writing in music history,
and teaching tips. Also
included are hints for
pronouncing church Lat-
18 M USIC H I S TORY:
Church and Its Music
The Jewish Heritage
The Diversification of
Practice
3. The Establishment of a
Catholic Tradition
The Political-Cultural
Situation at the Beginning
of the Ninth Century
The Roman Liturgy
Aesthetic Considerations
Regarding the Chant
The Musical Style of the
Chant
The Music Theory of the
Chant
Romanesque Developments
Gothic Thinking and Style
Notre Dame Polyphony
The Motet
Late Thirteenth-Century
Developments
Symbolic Values in Medieval
Polyphony
6. Music in the Fourteenth
Century
The Increasing Secularization
of Culture
Ars Nova
Isorhythm
The Roman de Fauvel
The Growth of the
Renaissance Musical Style
in the North
The Ascendancy of the
Northern Style
Music for Social Use
Regional Variations of the
Cosmopolitan Style in
Secular Music
9. Instrumental Music in
the Sixteenth Century
The Place of Instruments
Instruments and their
Combinations
Instruments and Vocal
Mannerism
The Italian Style in England
France
The Venetian Style
The Significance of Late
Humanist Styles
12. Rationalism and its
Impact on Music
An Age of Reason
Aesthetic Considerations
The Doctrine of Affections
The Florentine Camerata
Monody and the Basso

in as well as a correlation
Later Developments in the
guide to the major score Liturgical Chant
4. Medieval Secular Song
anthologies. and Instrumental Music
Secular Music before the
Eleventh Century
Latin Songs
Epics and Minstrels
Troubadours and Trouvères
German Court Music
Monophonic Songs in Other
Regions
Form in Secular Song
Guillaume de Machaut
Ars Subtilior
The Italian Trecento
Cadence Patterns in the
Fourteenth Century
English Polyphony
7. Humanism and Music
The Rise of a Humanist
World View
Music
Instrumental Adaptations of
Vocal Music and Genres
Instrumental Genres
10. The Reformation and
Music
The Background of the
Reformation
The Music of the Lutheran
Reformation
The Calvinist Reformation
Continuo
Concertato
Seconda Pratica
Expression of New Ideas in
New Styles
13. New Genres and Styles
in the Age of Rationalism
Three Styles
The Creation of Opera
Developments in Italian
Opera
Vocal Chamber Music
Sacred Music
Seventeenth-Century Musicians in Late 20. Developments in 23. Modernism and the
Instrumental Music Eighteenth-Century Romanticism to 1850 Period between the
Society World Wars
14. The Late Seventeenth The Context for
Century Contrasting Careers for Romanticism to the Modernism
Classical Musicians: Middle of the Nineteenth A Period of Readjustment “When I was reading this
French Opera in the Haydn and Mozart
Seventeenth Century Century text, it was as if I were
Comic Opera in the Early The Twelve-Tone Method of
English Music in the Enlightenment Romantic Lyricism in Italian Composition reading a new novel for
Seventeenth Century Opera Toward Serialism
Opera Seria and Opera my own pleasure. The
Italian Opera Reform French Grand Opera Artistic Objectivity
Instrumental Genres and the The Cult of Virtuosity
book is beautifully written,
The Cantata and Other Neoclassicism
Vocal Chamber Music Sonata Plan clear, and concise. . . .
Some “Serious” Performers New Tonal Theory
The Sonata Form and Its Though Seaton’s writing
German Musical Genres Variants Lyricism and Virtuosity— The Influence of Regional
Chopin Musics
The Development of Expression and Function is as scholarly as any I’ve
Instrumental Forms and Salons and Drawing Rooms The Music of Socialist
Idioms 18. The End of the Realism in the Soviet read, it is immediately
Eighteenth Century Instrumental Genres in Union
15. The Early Eighteenth readable, logical, and
The Position of Haydn and Romantic Music The United States
Century utterly enjoyable.”
Mozart Romantic Musical Style The Avant-Garde
The Late Rationalist Period
Chamber Music Recognition of the Musical
—Virginia Boaz, East
Opera Seria—Handel and 24. In The Second Half of
Others Symphony Heritage the Twentieth Century Texas Baptist University
The Intermezzo Concerto The Midpoint of the History and Contemporary
Nineteenth Century Music
Opera in France Mozart’s Mature Operas
21. The Second Half of the Composers in Late- “I enjoy the flexibility that
Handel and the Oratorio A New Model for Expression Nineteenth Century Twentieth-Century Society
Germany The New German School this book allows in select-
The Enlightenment Beethoven Total Control
Johann Sebastian Bach The Artwork of the Future ing which pieces to use in
The American Colonies and The Exploration of New
16. New Currents in the the Early United States Late Romanticism Timbres: Extended
Early Eighteenth Century and out of class, whether
19. The Rise of the Influences of the New Techniques
New Directions in Thinking Romantic Movement in an existing anthology,
German Style Electronic Music
and Style online, in a course-pack,
Philosophical Roots of Realism in Late Nineteenth- Indeterminacy
The Development of the Romantic Thought Century Opera or in the library. . . . This
Tonal System Romantic Art Exoticism Aesthetic Issues
is an outstanding text-
The Idea of the Galant The Romantic Movement Late Nineteenth-Century Postmodernism
French and Italian Operatic in the History of Musical National Styles Postmodernism in Music
book, and the only one I
Style
Comedy Nationalism in Other Jazz and Popular Music feel comfortable asking
Beethoven from 1802 Countries
The empfindsamer Stil my students to purchase. “
Beethoven’s Last Period The Situation at the End of The Situation at the Dawn of
Structure in Early the Nineteenth Century the Twenty-First Century —Jay Grymes, Univer-
Eighteenth-Century Beethoven’s Influence on
Nineteenth-Century Music 22. The Arrival of the Appendix: Timeline sity of North Carolina-
Instrumental Music
Early Nineteenth-Century Twentieth Century Index
Developments in Italian Opera
Charlotte
A Turning Point in Artistic

H I S TO RY O F W E S T E R N M U S I C
Instrumental Music * For a complete Table of
Opera in France Ideas and Styles Contents, please visit www.
17. The Enlightenment and oup.com/us/he.
the Classic Style German Romantic Opera Impressionism
The Enlightenment The Social Context for The Aesthetics of Ugliness October 2009 544 pp.
Music in the Nineteenth cloth APS SEAIS3
The Classic Outlook Century Primitivism
978-0-19-537988-4 $59.95
Expressionism

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published for your course:
Author Title Publisher Pages Price*
Seaton Ideas and Styles in the Western Musical Tradition, 3E OUP 554 pp. $59.95
19 M USIC H I S TORY:

Hanning Concise History of Western Music, 3E Norton 752 pp. $78.00

Bonds A History of Music in Western Culture, 3E Pearson 696 pp. $84.00
Burkholder A History of Western Music, 8E Norton 986 pp. $84.00
Wright Music in Western Civilization Schirmer 864 pp. $104.33
* List (retail) prices as advertised or calculated from wholesale prices provided by publishers as of September 2009. Prices subject to change.

“This text does not iso-
late music as a separate
component of the film
experience, but instead
asks students to consider
music in the context of the
whole soundtrack, that is,
in conjunction with sound
effects and dialogue. For a
textbook this is a novel and
wonderful approach and
it constitutes what I think
is the real strength of the
book.”—Julie Hubbert,
University of South Carolina
 SU PPORT
PA C K A G E
Includes an end-of-book
glossary and an Instruc-
tor’s Manual on CD
offering additional ex-
amples with screen stills,
composer biographies,
quizzes, exercises, and
suggestions for class dis-
FILM MUSIC
cussions and activities
20 M USIC H I S TORY:
The ONLY film music history text that looks at sound and
dialogue—as well as scores!
Hearing the Movies
Music a nd Sound in Film History
James Buhler a nd Dav id Neumeyer, both at Universit y of Texas at Austin, a nd
Rob Deemer, State Universit y of New York at Fredonia
I n this text for introductory film music courses, the au-
thors bring music into the context of sound, and sound
into the context of the whole film. The text’s functional
• B
FE AT U R E S
 rings together the broadest range of scholarship on
film music currently available
approach to surveying film music teaches students critical
• I ncludes copious examples from a range of easily
listening skills that can be applied to sound and music accessible films, as well as “Additional Films and
in all visual media. By offering easily accessible sample Scenes to Study” sections with exact timings
analyses of sound and music in relation to the image track • P
 rogressively introduces, defines, and illustrates
at the level of the scene, the text illustrates how to analyze concepts
a sound track and its music. It also provides a historical • D
 raws students into the material with screen stills
and sidebars with commentary
narrative of sound and music in film genres and film his-
tory as well as a look at the technical side of contemporary
music and sound production.
c o n t e n t s*
Preface Chapter 6. Music in Main-Title and Chapter 13. The Stereo Sound Track
End-Credit Sequences and the Post-Classical Era (1950–
Introduction
1975)
Chapter 7. Music in Performance and
Part I: The Sound Track and
Montage Scenes Chapter 14. The New Hollywood,
Film Narrative: Basic Terms
Dolby Stereo, and the Emergence of
and Concepts Chapter 8. Film Style and the Sound
Sound Design (1975–2000)
Chapter 1. The Sound Track and
Track
Chapter 15. Music and Film Sound
Narrative Chapter 9. Music in Character and
Today
Action Scenes
Chapter 2. The Musicality of the Sound
Afterword
Track: Concepts and Terminology Interlude: Writing About Film Music:
Interpretation Glossary
Chapter 3. Music, Sound, and the
Space of Narrative: Concepts and Part III: The Sound Track: Credits
Terminology A Technological History
Notes
Chapter 4. Music, Sound, and Time Chapter 10. Music and Sound in the
Index
Interlude: Writing About Film Sound:
Silent Era (1895–1929)
* For a complete Table of Contents, please
Analysis and Description Chapter 11. The Transition to Sound visit www.oup.com/us/he.
Part II: Music, Film Form,
Film (1926–1932)
2009 496 pp. paper APS BUHLER
and Film Style Chapter 12. Music and the Sound
978-0-19-532779-9 $50.00
Track in the Classical Studio Era
Chapter 5. Music in Film Form
ALSO of INTEREST
Tuning In
A mer ic a n Nar r ativ e Television Music
Ron Rodman, Carleton College
D rawing on music in a wide variety of television genres—from westerns to science-
fiction thrillers to police dramas to sitcoms and commercials—author Ron Rod-
man develops a new theory of television music to explain how it conveys meaning to
American viewing audiences.
November 2009 368 pp. cloth APS RODTUN 978-0-19-534025-9 $21.95
Keeping Time
R eadings in Ja zz History
Edited by Robert Walser, UCL A

“An impressive achievement. The introductions to the

excerpts alone provide a fascinating mini-history of jazz
that ranges through a wider variety of topics than many
full-scale histories.”—Gary Tomlinson, University of
Pennsylvania
D rawing from contemporary journalism, reviews,
program notes, memoirs, interviews, and other
sources, Keeping Time brings to life the controversies
and critical issues that have accompanied every moment
of jazz history.

c o n t
Preface
Acknowledgments
First Accounts
1. Sidney Bechet’s Musical
Philosophy
2. “Whence Comes Jass?”,
Walter Kingsley
3. The Location of “Jass,”
New Orleans Times-
Picayune
4. A “Serious” Musician
Takes Jazz Seriously,
Ernest Ansermet
5. “A Negro Explains ‘Jazz’,”
James Reese Europe
6. “Jazzing Away Prejudice,”
Chicago Defender
7. The “Inventor of Jazz,”
Jelly Roll Morton
The Twenties
8. Jazzing Around the Globe,
Burnet Hershey
9. “Does Jazz Put the Sin in
Syncopation?”, Anne Shaw
e n t s
13. “The Negro Artist and
the Racial Mountain,”
Langston Hughes
14. A Black Journalist
Criticizes Jazz, Dave Peyton
15. “The Caucasian Storms
Harlem,” Rudolf Fisher
16. The Appeal of Jazz
Explained, R.W.S. Mendl
The Thirties
17. What Is Swing?, Louis
Armstrong
18. Looking Back at “The
Jazz Age,” Alain Locke
19. Don Redman: Portrait of
a Bandleader, Roi Ottley
20. Defining “Hot Jazz,”
Robert Goffin
21. An Experience in Jazz
History, John Hammond
22. On the Road with Count
Basie, Billie Holiday
23. Jazz at Carnegie Hall,
James Dugan and John
27. “From Somewhere in
France,” Charles Delauney
28. Johnny Otis Remembers
Lester Young
29. “A People’s Music,”
Sidney Finkelstein
30. “Bop is Nowhere,”
D. Leon Wolff, Louis
Armstrong
31. “The Cult of Bebop,”
Dizzy Gillespie
32. “The Golden Age, Time
Past,” Ralph Ellison
33. The Professional
Dance Musician and His
Audience, Howard S. Becker
The Fifties
34. Jazz in the Classroom,
Marshall W. Stearns
35. A Jazz “Masterpiece,”
André Hodeir
36. “Sonny Rollins and the
Challenge of Thematic
Improvisation,” Gunther
Schuller
42. Louis Armstrong on
Music and Politics
The Sixties
55. “‘It Jus’ Be’s Dat Way
43. Critical Reception of Sometime’: The Sexual
Free Jazz Politics of Women’s Blues,”
Hazel V. Carby
44. “Jazz and the White
Critic,” LeRoi Jones 56. Miles Davis Speaks His
Mind
45. A Jazz Summit Meeting,
Playboy 57. A Music of Survival and
The Seventies Celebration, Christopher
Small
46. Oral Culture and
The Nineties
Musical Tradition,
Ben Sidran 58. Who Listens to Jazz?
47. Jazz as a Progressive 59. Free Jazz Revisited
Social Force, Leonard
60. Ring Shout, Signifyin(g),
Feather
48. Beyond Categories,
and Jazz Analysis, Samuel
A. Floyd, Jr.
Max Roach
61. Ferociously Harmonizing
49. The Musician’s Heroic with Reality, Keith Jarrett
Craft, Albert Murray
62. Constructing the Jazz
50. Creative Muisc and the Tradition, Scott DeVeaux
AACM, Leo Smith
Editing Notes
The Eighties
Select Bibliography
51. “America’s Classical

Faulkner
10. Jazz and African Music,
Nicholas G.J. Ballanta-
Taylor
11. The Man Who Made
a Lady Out of Jazz (Paul
Whiteman), Hugh C. Ernst
12. “The Jazz Problem,”
The Etude
O
Hammond Index
Music,” Billy Taylor
37. “Beneath the Underdog,”
24. Duke Ellington Explains
Charles Mingus 52. “A Rare National 1998 464 pp. paper
Swing
Treasure,” U.S. Congress APS KEETIM
38. Psychoanalyzing Jazz,
25. Jazz and Gender During 978-0-19-509173-1 $29.95
Miles D. Miller 53. The Neoclassical Agenda,
the War Years, Down Beat
Wynton Marsalis
39. An Appeal to the Vatican
The Forties 54. Soul, Craft, and the
40. America’s “Secret Sonic
26. “Red Music,” Josef Cultural Hierarchy,
Weapon”
Skvorecky Wynton Marsalis and Herbie
41. “The White Negro,” Hancock

JA Z Z / OPER A
Norman Mailer

Opera
A History in Documents
21 M USIC H I S TORY:

Piero W eiss, Johns Hopkins Universit y

I n this text, Piero Weiss presents

a wide-ranging, vivid, and care-
fully researched tour of operatic his-
tory. A unique anthology of primary
source material, this survey includes
115 chronologically organized selec-
tions—passages from private letters,
public decrees, descriptions of first
performances, portions of libretti, lit-
erary criticism and satire, newspaper
reviews and articles, and poetry and
fiction—from opera’s late Renaissance
infancy through modern times. This
firsthand testimony allows students
to experience the history of opera as
eyewitnesses, offering an immediacy
and validity unmatched by standard
histories.
2002 352 pp. paper APS WEISS
978-0-19-511638-0 $39.95
 Music Research
A H a ndbook
L aurie Sampsel , Universit y of Colorado at Boulder

C oncise and practical, Music

Research introduces music stu-
dents to the major print and electron-
titles in major areas, and the principal
sources in French, German, Italian,
and Spanish.
core music journals and major profes-
sional music associations.

Ideal for graduate-level music bibli-

ic research tools available to them.
The text is supplemented by a com- ography and research courses, it can
This unique handbook does not aim
prehensive companion website, also be used in any undergraduate or
to provide an exhaustive introduc-
(www.oup.com/us/musresearch), graduate music course that requires
tion to the subject; rather, it is highly
which includes supplemental links, students to engage in library research
selective and guides students to the
updates to available bibliographies or to write a research paper.
most significant English-language re-
and readings by chapter, research
search tools and resources, reference
tools listed by composer, and lists of

c o n t e n
Chapters 1–16 end with Suggested
Readings. Chapters 1–14 also include
Evaluation Checklists.
Preface
List of Abbreviations
Part One: Research Tools
Chapter 1: Guides to the Research
Process and Research Tools
Chapter 2: Comprehensive Music
Encyclopedias and Dictionaries
Chapter 3: Special Encyclopedias and
Dictionaries
Chapter 4: Finding Music Materials in
RESEARCH METHODS / BIBLIOGR APHY
t s*
Chapter 7: Indexes to Music in
Composer’s Complete Works,
Historical Sets & Musical
Monuments, and Anthologies
Chapter 8: Finding and Using Thematic
Catalogs
Chapter 9: Music Histories, Source
Readings, and Chronologies
Chapter 10: Bibliographies of Music
and Music Literature
Chapter 11: Discographies
Chapter 12: Music Iconographies
Chapter 13: Music Directories
Chapter 16: Style Manuals and Citation
of Sources
Appendixes
A: Library of Congress Class M
B: Searching Tips
C: Twenty-Five Composers Included as
Examples in this Text
D: Chicago Manual of Style at Your
Fingertips
E: American Psychological Association
Style at Your Fingertips
F: Modern Language Association Style
at Your Fingertips

Library Catalogs Chapter 14: Internet Resources for

Glossary
Music
Chapter 5: Periodical Indexes for Music
Index
Part Two: Writing, Style
Chapter 6: Indexes to Music
Manuals, and Citation * For a complete Table of Contents, please
Dissertations, Theses, Conference
visit www.oup.com/us/he.
Papers, and Festschriften Chapter 15: Writing
2008 352 pp. cloth APS SAMPSE
978-0-19-517119-8 $39.95

ALSO of INTEREST

Music in Words
A Guide to R esearching a nd Wr iting
A bout Music
Trevor Herbert, Open Universit y

A compact guide to researching and writing about music, Music in Words

addresses all the issues that anyone who writes about music—from students to
22 M USIC H I S TORY:

professional musicians and critics—may confront when putting together anything

from brief program notes to a lengthy thesis.
2009 256 pp. paper APS HERMUS 978-0-19-537373-8 $19.95
Modal Counterpoint
R enaissa nce St yle
Second Edition
Peter Schubert, McGill Universit y

A n exceptional text for undergraduate and graduate music students, Modal

Counterpoint uses a wide variety of carefully graded exercises to present
guidelines for writing and analyzing 16th-century music. The only species
“There is no other textbook
in modal counterpoint on the
market that is in the same
counterpoint text that draws directly on Renaissance treatises, it provides
league. . . . This certainly
a conceptual framework to guide students through composition and analysis
ranks among the best music
as it teaches them general structural principles.
theory textbooks of the past
ten years.”—Anton Vishio,
New York University
FE AT U R E S of the SECON D EDIT ION
“This is one of the most
• I ntegrates improvisation activities and new repertoire examples into
many chapters successful textbooks in any
• R
 evises the chapter on three-part writing (Chapter 14) so that it pays area of music I have used in
more attention to rules and strategies sixteen years of university
• R
 eworks the chapters on cadences (Chapter 10) and on writing two teaching. It is also remark-
parts in mixed values (Chapter 11) to make them more accessible to ably well edited. Its format is
students both instructor- and student-
• Incorporates clarified instructions throughout friendly. This is a book of
• Includes a summary of rules inspired musicality, pragmatic
pedagogy, scholarship, and
wit.”—Jeff Perry, Louisiana
State University

c o n t e n t s*

MUSIC THEORY: COUNTERPOINT (Sixteenth Century)

Preface 9. Motivic Variation Appendices
Note to the Student 10. Cadence Formulas in Two Voices 1. Text Setting
Note to the Instructor 11. Two Parts in Mixed Values 2. Canon Against a CF
Introduction: Renaissance Musical 12. The Imitative Duo 3. Solmization
Style and Notation 4. Sample Motive Placements
13. Invertible Counterpoint
1. Mode 5. The Invertible Duo
14. Three Parts
2. Introduction to Two-Part Species Bibliography
15. Three Parts in Mixed Values
Counterpoint Index
16. The Three-Voice Invertible Canon
3. First Species * For a complete Table of Contents, please
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4. Second Species visit www.oup.com/us/he.
18. Adding Three Parts in Mixed Values
5. Third Species 2007 368 pp. spiral-bound paper
to a CF
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6. Fourth Species
19. Four Parts in Mixed Values $59.95
7. Mixed Values
20. Composing a Whole Piece
8. Counterpoint with Repetition of
a Motive

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23
 Classical Form
A Theory of For m al Functions for the Instrumental Music
of H aydn, Moz art, a nd Beethoven
W illiam E . C aplin, McGill Universit y

B uilding on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces
a new theory of form for instrumental music in the classical style.

c o n t e n t s
Introduction 7. Small Binary 14. Slow-Movement Forms
Part I. Preliminaries Part III. Looser Formal 15. Minuet/Trio Form
Regions
1. Some Basic Formal Functions: 16. Rondo Forms
An Overview 8. Subordinate Theme
17. Concerto Form
2. Fundamental Progressions of 9. Transition
Glossary of Terms
“This book is an important Harmony
10. Development
Notes
and impressive statement Part II. Tight-Knit Themes
11. Recapitulation
Bibliography
that no theorist or musicol- 3. Sentence
12. Coda
Index of Classical Compositions
ogist can afford to ignore.” 4. Period
Part IV. Full-Movement
General Index
—Music Theory Spectrum 5. Hybrid Themes and Compound Forms
Themes 2000 320 pp. paper APS CAPFOR
13. Sonata Form
6. Small Ternary 978-0-19-514399-7 $45.00

Engaging Music
Essays in Music A nalysis
Edited by Deborah Stein, New England Conservatory of Music

T he first collection of its kind, Engaging Music includes an introduction and twenty-one selections by highly
esteemed contemporary music theorists, sixteen of which were written especially for this volume.

c o n t e n t s
Preface 8. Attacking a Brahms Puzzle, 17. Playing with Forms: Mozart’s
Edward T. Cone Rondo in D Major, K. 485,
Introduction to Writing Analytical
William Rothstein
Essays, William Marvin PART II. MODEL ESSAYS: TEXT
AND MUSIC Pitch
PART I. INTRODUCTION TO
ANALYTICAL TOPICS AND 9. Figaro’s Mistakes, David B. Lewin 18. Two Post-Tonal Analyses, Webern,
F O R M A N D A N A LYS I S

TECHNIQUES “Wie bin ich froh!” from Three Songs,

Rhythm, Meter, and Phrase
1. The Phrase Rhythm of Chopin’s
A-flat Mazurka, Op. 59, No. 2,
Charles Burkhart
2. Hypermeter and Hypermetric
Irregularity in the Songs of Josephine
Lang, Harald Krebs
Pitch
3. Schenker’s Conception of Musical
Structure, Allen Forte
24 M USIC T H E ORY:
10. Motive and Text in Four Schubert
Op. 25; Schoenberg, “Nacht,” from
Songs, Carl Schachter
Pierrot Lunaire, Op. 21, Joseph N.
11. Isolde’s Transfiguration in Words Straus
and Music, Patrick McCreless
19. “This music crept by me upon
12. Meaning in a Popular Song: the waters”: Introverted Motives
The Representation of Masochistic in Beethoven’s “Tempest” Sonata,
Desire in Sarah McLachlan’s “Ice,” Richard Cohn
Lori Burns
20. “Rounding Up the Usual
13. In Search of Purcell’s Dido, Suspects?”: The Enigmatic Narrative
Janet Schmalfeldt of Chopin’s C-sharp Minor Prelude,
PART III. MODEL ESSAYS: Charles J. Smith

4. “Learn to Draw Bob Hope!” Mort
Drucker, Arnold Schoenberg, and
Twelve-Tone Music, Andrew Mead
Form
5. Analyzing the Unity within
Contrast: Chic Corea’s “Starlight,”
Ramon Satyendra
6. Form in Rock Music: A Primer,
John Covach
Musical Ambiguity
7. Introduction to Musical Ambiguity,
Deborah Stein
INSTRUMENTAL
Performance and Analysis
14. The Presto from Bach’s G Minor
Sonata for Violin Solo: Style,
Rhythm, and Form in a Baroque
Moto Perpetuo, Joel Lester
15. Dramatic Progression in Haydn,
Sonata No. 46 in A-flat, Adagio,
Marion A. Guck
Form
16. Formal and Expressive
Intensification in Shostakovich’s
String Quartet No. 8, Second
Movement, Roger Graybill
Texture
21. Texture and Timbre in Barbara
Kolb’s Millefoglie for Chamber
Orchestra and Computer Generated
Tape, Judith Lochhead
Scores
Glossary
Selected Bibliography
Index
2004 368 pp. cloth APS STEMUS
978-0-19-517010-8 $55.95
The ONLY text that introduces sound before theory

From Sound to Symbol

Funda mentals of Music
Míche á l Houlahan a nd Phillip Tacka, both at Millersville Universit y of
Pennsylvania

W ith this text/workbook designed for one-semester music fundamentals courses for non-majors, students
will learn the rudiments of music theory as they methodically explore music as listeners, performers, critical
thinkers, and composers.

“I have used From Sound to Symbol for two semesters, and liked it very SU PPORT
much, and began using it because it uses short tunes that students can PA C K A G E
sing and clap easily, helping them to learn musical concepts more easily • I n-text audio CD that fea- “The Instructor’s Manual
and thoroughly.”—Andrew Carpenter, University of Illinois, Chicago tures all the focal melodies in is excellent and shows
the text
the wealth of experience
• I n-text CD-ROM that in- that the authors have. It
cludes tutorials for chapter
FE AT U R E S review, theory exercise drills, is well organized and very
and dictation exercises useful—even for the expe-
• Takes a sound-to-symbol approach in which concepts are initially
• I n-text fold-out laminated rienced theory teacher.”
explored through the sound of music before moving to an explanation
of how symbols are used to represent the sound keyboard —Nico Schuler, Texas
• I ncludes marginal icons that key exercises in music theory, sight • P
 rint Instructor’s Manual State, San Marcos
reading melodies and rhythms, improvisation and composition, per- (978-0-19-534294-9) of 130
formance–ensemble singing, and keyboard performance pages with lesson plans,
teaching tips on learning as-
• E
 mploys examples from both folk songs and classical music that sessment, aural and written
are simple, memorable, and easy to sing or play dictation exercises for each
• O
 ffers extensive musical examples and activities for developing chapter, and suggestions for
musicianship skills scoring tests

c o n t e n t s*
Preface Chapter 6. Intervals Chapter 12. An Introduction to
Harmonic Progressions
Explanation of Icons and Terms Chapter 7. Orientation to the Minor
Scale: Minor Pentachord and Minor Glossary
Chapter 1. Rhythm 1: Basic Rhythms
Hexachord Scales and Melodies
in Simple Meter Index
Chapter 8. The Minor Scale: Natural
Chapter 2. The Keyboard and Notation Audio CD Track List
Form

F U N DA M E N TA L S
of Pitch
* For a complete Table of Contents, please
Chapter 9. The Minor Scale: Harmonic
Chapter 3. Rhythm 2: More Advanced visit www.oup.com/us/he.
and Melodic Forms
Rhythms in Simple Meter
Chapter 10. Rhythm 3: Compound 2008 512 pp. paper APS HLHNMT
Chapter 4. Orientation to the Major 978-0-19-532770-0 $84.95
Meter and Advanced Rhythmic
Scale
Concepts
Chapter 5. The Major Scale
Chapter 11. Introducing Harmonic
Concepts
25 M USIC T H E ORY:

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 Includes an audio CD featuring rhythm and tonal patterns
from the book

Progressive Sight Singing

C arol K rueger, Universit y of South Carolina

I deal for undergraduate courses

SU PPORT
PA C K A G E
• P
 ackaged with an audio
CD that includes rhythm
and tonal patterns intro-
duced in the book; this
connects the eye to the ear
and helps students hone
their aural skills
• A
 n Instructor’s Manual
expands upon the peda-
gogy underlying the book,
offers solutions to the ex-
ercises, and provides ad-
ditional exercises and
teaching tips
EAR TR AINING AND SIGHT SINGING
in ear training and sight singing,
Progressive Sight Singing introduces
students to the underlying gram-
mar and syntax of musical structure
and prepares them to perceive that
structure with both the ear and the
eye. Working from the premise that
students learn musical skills in much
the same order as they do language
skills, this book employs a unique
pedagogical structure that introduces
the concept of sound before sight.
c o n t e n
Preface to the Instructor
Preface to the Student
An Introduction to the Music Literacy
Process
Strategies for Successful Sight Singing
Building Musicianship and Independence
FE AT U R E S
 rains the ear first through
• T • E
 ncourages students to actively
hearing and imitating patterns participate (sing, chant, write,
• Adds only one new element create, and improvise) in the
practice of each concept in or-
per chapter and incorporates
der to become skilled musicians
components from previous chap-
ters into examples and exercises, • O
 ffers instructors great flex-
thereby continuously reinforcing ibility because they can use
learned skills whatever tonal and reading sys-
• Integrates
 a rich variety of tems they prefer to accompany
the book
well-paced, graduated exer-
cises covering rhythmic and
melodic reading, dictation, au-
diation, musical memory, and
error detection
t s*
13. Half Note = Beat Unit 11. i and V7 in Minor Mode; Other
Rhythms in Simple Meters
14. Simple Meter—Eighth Note = Beat
Unit 12. I and V7 in Major and Minor
Modes; Half Note = Beat Unit
15. Compound Meter—More Rhythms
13. I and V7 in Major and Minor
16. Cross Rhythms and Hemiola
Modes; Eighth Note = Beat Unit
17. Asymmetrical Meters

14. I and V7 in Major and Minor;

Part I. Rhythmic Reading
1. Simple Meter—Quarter Note = Beat
Unit; Undivided Beat
2. Simple Meter—Quarter Note = Beat
Unit; Divided Beat
3. Simple Meter—Quarter Note = Beat
Unit; Slur, Tie, and Extension Dot
4. Terms and Symbols
5. Compound Meter—Dotted Quarter
= Beat Unit; Divided Beats
6. Simple Meter—Quarter Note = Beat
Unit; Borrowed Beat Division
7. Simple Meter—Quarter Note = Beat
Unit; Syncopation
8. Simple Meter—Quarter Note = Beat
Unit; Subdivided Beats
9. More Terms and Symbols
10. Simple Meter—Quarter Note
26 M USIC T H E ORY:
18. Mixed Meters
Part II. Melodic Reading
1. Tonic Pentachord in Major Mode;
Simple Meters, Undivided Beat
2. Diatonic Steps and Tonic Triad
in the Major Scale; Simple Meters,
Undivided Beat
3. Diatonic Steps and Tonic Triad in
the Natural Minor Scale; Simple
Meters, Undivided Beat
4. Diatonic Steps and Tonic Triad
in the Major Scale; Simple Meters,
Divided Beat
5. Diatonic Steps and Tonic Triad
in the Major Scale; Simple Meters,
Dotted Quarter Notes
6. Natural, Harmonic, and Melodic
Minor Scales; Simple Meters, Eighth
and Dotted Quarter Notes
Compound Meters—More Rhythms
15. I, ii, IV, and V7 in Major Mode;
Simple and Compound Meters
16. i, iv, and V7 in Minor Mode; Simple
and Compound Meters
17. Chromatic Alterations; Simple and
Compound Meters
18. Modes
Appendix A. Rhythm Reading
Systems
Appendix B. Tonal Reading Systems
Appendix C. Dictation
Appendix D. Conducting Patterns
Appendix E. Glossary of Foreign
Terms
Index
* For a complete Table of Contents, please

= Beat Unit; More Rhythms with
Borrowed Beat Division
11. Simple Meter—Quarter Note
= Beat Unit; More Rhythms with
Syncopations
12. Simple Meter—Quarter Note
= Beat Unit; More Rhythms with
Subdivided Beats
visit www.oup.com/us/he.
7. Major and Minor Modes; Compound
Meters—Dotted Quarter = Beat Unit 2006 416 pp. paper APS KRUPSS
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Compound Meters
9. i and V7 in Minor Mode; Simple and
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10. I and V7 Major Mode; Other
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Analysis of Tonal Music
A Schenk er i a n A pproach
Second Edition
A llen C adwallader, Oberlin College Conservatory of Music, a nd Dav id G agné ,
Queens College a nd The Graduate Center, Cit y Universit y of New York

D esigned as an introduction for upper-level undergraduates and beginning graduate students, this book explains
the structural principles of Schenkerian analysis in actual composition rather than through models and formulas.
It teaches students how to think about and critically examine compositions in ways that will inform their understand-
ing and performance of great compositions of Western art music. The text includes more than 200 analytical graphs,
musical examples, and a bibliography.

c o n t e n t s*
Preface 7. Some Basic Elaborations of Notes
Fundamental Structures
Part 1. Basic Principles Selected Bibliography
Part 2. Analytic FE AT U R E S
1. Introduction Index of Musical Examples
Applications • A
 ccompanied by a
2. Melody and Counterpoint Subject Index Student Workbook
8. One-Part Forms
3. Bass Lines and Harmonic Structure * For a complete Table of Contents, please (see below)
9. Binary Forms visit www.oup.com/us/he.
4. Linear Techniques
10. Ternary Forms and Rondo • I ncludes a primer on
5. Tonal Structure 2006 416 pp. cloth APS CADAN2 graphic notation (as
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11. Sonata Principle 978-0-19-530176-2 $64.95
an appendix)
12. Some Common Tonal Patterns
• P
 rovides examples that
demonstrate the com-
Student Workbook to Accompany Analysis of mon middle ground
plans underlying Ba-

Tonal Music: A Schenkerian Approach, Second Edition roque binary move-

ments

A llen C adwallader, Oberlin College Conservatory of Music, a nd Dav id G agné , • O

 ffers suggestions
for further analysis
Queens College and The Graduate Center, Cit y Universit y of New York
at chapter ends and

T his accompanying Student Workbook contains thirty-four exercises designed to serve as class and homework refers students to ap-
propriate workbook
assignments for an introductory course in Schenkerian Analysis. Most assignments consist of instructions, exercises
scores, and worksheets, and also include hints, instructions, and guiding questions.

c o n t e n t s Package
the text and

Preface
Part 1.
Counterpoint and
Structural Melody
Assignment 1: Beethoven,
Seven Variations on “God
Save the King,” Wo0 78,
Theme and Variation 5
Assignment 2: Folk Tune:
“Ashgrove”
Assignment 3: Chopin,
Nocturne in F Minor, Op.
55, No. 1
Assignment 4: Bellini, “Casta
Diva” (from Norma)
Assignment 8: Schumann,
“Little Study,” from Album
for the Young, Op. 68,
No. 14
Assignment 9: Beethoven,
Op. 2, No. 3, III, Trio
Part 3. Linear
Techniques
Assignment 10: Mozart, Piano
Sonata, K. 280, III
Assignment 11: C. P. E. Bach,
“Prussian” Sonata, Vivace
Assignment 12: Bach, French
Suite in C Minor, BWV
813, Minuet
Assignment 17: Mozart,
String Quartet, K. 421,
Minuet
Assignment 18: Schubert,
B b Major Impromptu, Op.
142, No. 3, Variation 1
Assignment 19: Chopin,
Prelude, Op. 28, No. 15,
(“Raindrop”)
Assignment 20: Beethoven,
Piano Sonata, Op. 13
(“Pathetique”)
Assignment 21: Mozart,
Symphony in C Major
S C H E N K E R I A N A N A LYS I S
Assignment 24: Mozart,
Rondo in D Major, K. 485
workbook together
Assignment 25: Schumann,
for only $72.95!
Dichterliebe, “Ich will ($84.90 value)
meine Seele tauchen” (Pkg. ISBN 978-0-19-532935-3)
Assignment 26: Beethoven,
Bagatelle, Op. 119, No. 9
Assignment 27: Handel,
Theme and Variations in B b
Major, Aria
Assignment 28: Haydn, String
Quartet, Op. 74, No. 3, II
Assignment 29: Handel,
Minuet in F Major, HWV
516a
27 M USIC T H E ORY:

(“Jupiter”), K. 551, I Assignment 30: Mozart,

Part 2. Bass Assignment 13: Bach,
Lines, Harmonic Part 5. Analytical Clarinet Quintet, K. 581, III
Harpsichord Concerto (after (Trio I)
Structure, and Marcello), BWV 974, II Applications:
the Imaginary Lower-Level Assignment 31: Haydn, String
Assignment 14: Vivaldi, Fundamental Quartet, Op. 74, No. 3, II
Continuo Gloria, RV 589, I Structures and Assignment 32: Beethoven,
Assignment 5: Mozart, Assignment 15: Bach, Fugue Complete Pieces Piano Sonata, Op. 7, II
Piano Sonata, K. 457, III in G Major for Organ
(Allegro assai) (“Jig”), BWV 577 Assignment 22: Beethoven, Assignment 33: Mozart, Piano
Piano Sonata, Op. 10, No. Sonata, K. 279, Andante
Assignment 6: Chopin, Valse Assignment 16: Bach, Prelude 1, I
Brillante, Op. 34, No. 2 in F Major, BWV 927 Assignment 34: Clementi,
Assignment 23: Beethoven, Sonatina, Op. 36, No. 3, I
Assignment 7: Beethoven, Part 4. Techniques Piano Sonata, Op. 31, No.
Piano Sonata, Op. 10, of Melodic 1, II 2007 164 pp. paper
No. 2, I Prolongation APS CADAWB
978-0-19-530177-9 $19.95

“The exercises in the
accompanying workbook
are inspirationally clever
. . . . I like the wide variety
of ‘real music’ examples as
well and I suspect my grad
students would be equally
appreciative. . . . I like the
summaries, point-by-point
reminders, and suggestions
about matters such as how
to figure a bass or how to
write a sequence. Students
will find such lists to be
both very clear and very
comforting.”
—Neil Minturn,
University of Missouri
G R A D UAT E R E V I E W
28 M USIC T H E ORY:
The ONLY music theory review written
specifically for graduate students
Graduate Review of Tonal Theory
A R ecasting of Common-Pr actice H ar mony, For m, a nd
Counter point
Stev en G. L aitz , Eastman School of Music, a nd Christopher Bartlette ,
Baylor Universit y
B ased on The Complete Musician (pp. 30–31), this
text goes beyond the undergraduate level to address
students as colleagues and explores analytical applications
FE AT U R E S
•  Pulls together the essential concepts of music theory
and pieces from the repertoire that expand upon
that are appealing and practical. The text provides a means and refine the analytical applications taught in the
to discuss the perception and cognition, the analysis and undergraduate theory curriculum
performance, and the composition and reception of com- •  Innovative, chapter-ending “Analytical Extensions”
mon-practice tonal music. Each chapter ends with two- to introduce one new topic through model analysis
three-page “Analytical Extensions,” which introduce one •  Accompanying
 workbook (978-0-19-537699-9)
new topic through one or two works from the repertoire, (and included DVD) is organized by chapter into
discrete assignments (3–5 per chapter), each pro-
and then develop the topic in a model analysis. Appendixes gressing from short, introductory analytical and
include keyboard exercises, model composition strategies writing exercises to more-involved tasks
and assignments, and sample solutions.
c o n t e n t s
Preface 3. M aking Choices: When Tonic Expansion with Arpeggiating Bass:
H armony, Melody, and IV6
Setting the Stage
R hythm Converge Contrapuntal Expansions with Seventh
PART I. CONTEXTUALIZING Chords
THEORY AND ANALYSIS: Tonal Hierarchy in Music
FUNDAMENTALS V7 and its Inversions
Tones of Figuration
1. Musical Time and Space Melodic Fluency Voice-Leading Inversions of V7
Leading Tone Seventh Chords: vii° 7
The Metrical Realm PART II. DIATONIC HARMONY:
FUNCTIONS, EXPANSIONS, AND Analytical Extension: Invertible
Accent in Music Counterpoint
THE PHRASE MODEL
Temporal Accents Invertible Counterpoint below the Music’s
4. Composition and A nalysis: Surface
Nontemporal Accents Using I, V, and V 7
Metrical Disturbance Tonic and Dominant as Tonal Pillars 6. The Pre-Dominant,
The Pitch Realm and Introduction to Voice Leading the Phrase Model , and
A dditional Embellishments
Pitches and Pitch Classes The Cadence
The Pre-Dominant Function
Scales Introduction to Voice Leading
The Subdominant (IV in Major, iv in
Keys Texture and Register Minor)
Intervals Spacing The Supertonic (ii in Major, ii° in Minor)
Consonance and Dissonance Summary of Voice-Leading Rules and Part Writing Pre-Dominants
Guidelines
Melody: Characteristics and Writing Extending the Pre-Dominant
The Dominant Seventh and Chordal
2. H arnessing Musical Time Dissonance Introduction to the Phrase Model
and Space
Part Writing with the Dominant Seventh Accented and Chromatic Dissonances
Accented Passing Tone ( >p)
Species Counterpoint Chord
First-Species (1:1) Counterpoint Analytical Extension: The Interaction Chromatic Passing Tone
Accented Neighbor Tone (n> )
Contrapuntal Motions of Harmony, Melody, Meter, and
Rhythm
Rules and Guidelines for First-Species
Counterpoint Embellishment Chromatic Neighbor Tone
Second-Species (2:1) Counterpoint Reduction Appoggiatura (AAP)
Rules and Guidelines for Second-Species Second-Level Analysis Suspension (S)
Counterpoint 5. Contrapuntal E xpansions Labeling Suspensions
Adding Voices: Triads and Seventh of Tonic and Dominant Writing Suspensions
Chords Contrapuntal Expansions with First- Anticipation (ANT)
Triads Inversion Triads
Pedal (PED)
Figured Bass Chordal Leaps in the Bass: I6 and V6
Analytical Extension: Revisiting the
Triads and the Scale: Harmonic Analysis Neighboring Tones in the Bass: V6 Subdominant
Seventh Chords Structural and Subordinate Harmonies Contrapuntal Expansion with IV
Musical Texture Passing Tones in the Bass: vii°6 and IV6 Plagal Cadence
PART III. ELABORATING
THE PHRASE MODEL AND
COMBINING PHRASES
7. Six-Four Chords,
Nondominant Seventh
Chords, and R efining the
Phrase Model
Six-Four Chords
Unaccented Six-Four Chords
Accented Six-Four Chords
Writing Six-Four Chords
Summary of Contrapuntal Expansions
Nondominant Seventh Chords: IV
(IV 65) and ii7 (ii65)
7
Part Writing Nondominant Seventh
Chords
Embedding the Phrase Model
Analytical Extension: Expanding the
Pre-Dominant
8. The Submediant and Mediant
H armonies
The Submediant (vi in Major, VI in
Minor)
The Submediant as Bridge in the
Descending-Thirds Progression
The Submediant as Bridge in the
Descending Circle-of-Fifths Progression
The Submediant as Tonic Substitute in
the Ascending-Seconds Progression
The Submediant as the Pre-Dominant
Voice Leading for the Submediant
The Step Descent in the Bass
Mediant (iii in Major, III in Minor)
A Special Case: Preparing the III Chord
in Minor
Voice Leading for the Mediant
General Summary of Harmonic
Progression
Analytical Extension: The Back-
Relating Dominant
9. The Period, the Double
Period, and the Sentence
The Period
Types of Periods
Period Labels
The Double Period
The Sentence
Analytical Extension: Modified Periods
10. H armonic Sequences:
Concepts and Patterns
Components and Types of Sequences
The Descending-Fifths Sequence (–5/+4)
The (–5/+4) Sequence in Inversion
The Pachelbel, or Descending 5–6,
Sequence (–4/+2)
The (–4/+2) Sequence in Inversion
The Ascending-Fifths Sequence (+5/–4)
The Ascending 5–6 Sequence (–3/+4)
Sequences with Diatonic Seventh
Chords
Writing Sequences
Analytical Extension: Melodic
Sequences and Compound Melody
PART IV. CHROMATICISM AND
LARGER FORMS
11. A pplied Chords and
Tonicization
Applied Dominant Chords
Applied Chords in Inversion
Voice Leading for Applied Dominant
Chords
Applied Leading-Tone Chords
Extended Tonicization
Analytical Extension: Sequences with
Applied Chords
The (–5/+4) Sequence
The (–4/+2) Sequence
The (–3/+4) Sequence
12. Modulation and Binary
Form
Modulation
Closely Related Keys
Analyzing Modulations
Writing Modulations
Modulation in the Larger Musical
Context
The Sequence as a Tool in Modulation
Binary Form
Balanced Binary Form
Summary of Binary Form Types
Analytical Extension: Binary Form in
Baroque Dance Suites
13. E xpressive Chromaticism:
Modal Mixture and
Chromatic Modulation
Modal Mixture
Altered Pre-Dominant Harmonies: iv
and ii°
Altered Submediant Harmony: bV I
Altered Tonic Harmony: i
Altered Mediant Harmony: bIII
Voice Leading for Mixture Harmonies
Plagal Motions
Modal Mixture, Applied Chords, and
Other Chromatic Harmonies
Expansion of Modal Mixture
Harmonies: Chromatic Modulation
Chromatic Pivot-Chord Modulations
Writing Chromatic Pivot-Chord
Modulations
Unprepared and Common-Tone
Chromatic Modulations
Analytical Extension: Modal Mixture
and Text-Music Relations
Analytical Payoff: The Dramatic Role
of bV I
14. The Neapolitan and
Augmented Sixth Chords
The Neapolitan Chord
Writing the Neapolitan Chord
Other Uses for the Neapolitan Chord
The Augmented Sixth Chord
Types of Augmented Sixth Chords
Writing Augmented Sixth Chords
bV I and the Ger65 Chord
The Augmented Sixth Chord as
a Pivot Chord
Package
Analytical Extension:
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Ternary Form
Transitions and Retransitions
Da Capo Form: Compound Ternary
Form
Includes a
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The Binary Model for Sonata Form
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Transition
Closing Section
Development and Retransition
Recapitulation and Coda
Analytical Extension: Motivic
Expansion
Exposition
Development
A ppendix A: A dditional Formal
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Subphrases and Composite Phrases
Variation Techniques
Continuous Variations Student Workbook
Sectional Variations to Accompany
Ternary Form and the Nineteenth-
Century Character Piece Graduate Review of
Rondo Tonal Theory
The Classical Rondo
The authors have devised
Five-Part Rondo
sixty-one diverse exercise sets
Coda, Transitions, and Retransitions
that correlate with material in
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Seven-Part Rondo clude writing and analytical
Further Characteristics of Sonata Form exercises that enable students
Monothematic Sonata Form to further integrate harmony
The Slow Introduction and counterpoint through
Other Tonal Strategies visual and aural tasks. There
is also a separate section of
A ppendix B: Glossary of
G R A D UAT E R E V I E W
keyboard activities at the end
A bbreviations
of the workbook. Visit www.
A ppendix C: Terminological
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Text and Workbook E xamples 2009 288 pp. paper
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29 M USIC T H E ORY:
 A comprehensive text that motivates students to learn theory
by integrating skills and focusing on musicality

The Complete Musician

A n Integr ated A pproach to Tonal Theory, A nalysis,
a nd Listening
Second Edition
Stev en G. L aitz , Eastman School of Music

“The Complete Musician is the most comprehen- FE AT U R E S

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The Complete Musician, Second Edition, relies on a diverse
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Student on music in context. It provides students with a strong
• F
 ully revised throughout, providing more explana-
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exercises
• N
 umerous analyses throughout the book, including
thirteen “Model Analysis” sections, which provide
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• O
 utstanding quality, quantity, and diversity of ex-
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two melodies as counterpoint, which is the frame-
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30 M USIC T H E ORY: T H E ORY FOR M AJOR S

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 c o n t
Part 1: The Foundation of
Tonal Music
1. The Pitch Realm: Tonality,
Notation, and Scales
2. Pulse, Rhythm, and Meter
3. Intervals and Melody
4. Controlling Consonance and
Dissonance: Introduction to Two-
Voice Counterpoint
5. Triads, Inversions, Figured Bass,
and Harmonic Analysis
6. Seventh Chords, Musical Texture,
and Harmonic Analysis
Part 2: Merging Melody
and Harmony
7. Hierarchy in Music: Consonance,
Unaccented Dissonance, and
Melodic Fluency
8. Tonic and Dominant as Tonal
Pillars and Introduction to Voice
Leading
9. The Impact of Melody, Rhythm,
and Meter on Harmony, and
Introduction to V7
10. Contrapuntal Expansions of Tonic
and Dominant: Six-Three Chords
11. More Contrapuntal Expansions:
Inversions of V7, and Introduction to
Leading Tone Seventh Chords
Part 3: A New Harmonic
Function and Additional
Melodic and Harmonic
Embellishments
12. The Pre-Dominant Function and
the Phrase Model
e n t s*
13. Accented and Chromatic Part 7: Expressive
Dissonances Chromaticism
14. Six-Four Chords and Revisiting IV 27. Modal Mixture
15. Invertible Counterpoint, 28. Expansion of Modal Mixture
Compound Melody, and Implied Harmonies: Chromatic Modulation
Harmonies and the German Lied
16. The Motive 29. The Neapolitan Chord ( bII)
Part 4: New Chords 30. The Augmented Sixth Chord
Complete the Diatonic
Part 8: Large Forms:
Spectrum
Ternary, Rondo, Sonata
17. The Phrase Model Refined:
Perceptions, Animation, and 31. Ternary Form
Expansion 32. Rondo
18. The Submediant: A New Diatonic 33. Sonata Form
Harmony, and Further Extensions of
the Phrase Model Part 9: Introduction to
Nineteenth-Century
19. The Mediant, the Back-Relating
Dominant, and a Synthesis of Harmony: The Shift from
Diatonic Harmonic Relationships Asymmetry to Symmetry
34. New Harmonic Tendencies
Part 5: Creating Larger
Forms 35. The Rise of Symmetrical Harmony
in Tonal Music
20. The Period
36. Melodic and Harmonic Symmetry
21. Other Small Musical Structures: Combine: Chromatic Sequences
Sentences, Double Periods, and
Asymmetrical Periods 37. At Tonality’s Edge
22. Harmonic Sequences: Concepts Index of Terms and Concepts
and Patterns Index of Musical Examples and
23. Sequences within Larger Musical Exercises
Contexts and Sequences with * For a complete Table of Contents,
Seventh Chords please visit www.oup.com/us/he.
Part 6: Chromaticism
2007 912 pp. cloth APS LAITZ2
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26. Binary Form and Variations

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32 M USIC T H E ORY:
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The ONLY anthology that organizes a wide range of musical
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Music for Analysis
Ex a mples from the Common Pr actice Per iod a nd the
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Seve nth Edition
Thomas Benjamin, Johns Hopkins Universit y, a nd Michael Horv it a nd
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O ffering 470 pieces of music from the Baroque period to the present, Music for Analysis, Seventh Edition, is the
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SE V EN T H EDIT ION • P
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excerpts and three from the twentieth century)
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• Two additional complete pieces (a four-movement
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c o n t e n t s
Questions for Analysis 2) Dominant Triad in Root
Notes Position
1. HAYDN, Sonatina in G Major, Hob.
* = New to this edition XVI: 8 Questions for Analysis
 = Included on CD  2. CZERNY, Sonatina, op. 792, no. 8  10. MOZART, Rondo
Each Part opens with Suggestions for 3. RIMSKY-KORSAKOV, Le Coq d’Or:  11. KUHNAU, Biblical Sonata No. 1:
Discussion Hymn to the Sun Victory Dance and Festival
4. BEETHOVEN, Leonora Overture No.  12. BEETHOVEN, Für Elise
2, op. 72
CD Track List 13. SCHUMANN, Album for the Young,
5. BEETHOVEN, Trio, op. 70, no. 2 op. 68: Reiterstück
Preface
6. CHOPIN, Polens Grabgesang, op. 74 14. WEBER, Euryanthe, op. 81: Overture
Suggestions for Using This Book
 7. CHOPIN, Valse (Posthumous) 15. BEETHOVEN, Symphony No. 5,
PART I: DIATONIC MATERIALS op. 67
8. BEETHOVEN, Symphony No. 5, op. 67
1) Tonic Triad 9. COUPERIN, Carnival
3) Dominant Seventh and
Ninth in Root Position
Questions for Analysis
Model Analysis
 16. WEBER, German Dance
 17. MOZART, Sonata, K. 332
18. SCHUBERT, Wiegenlied, op. 98,
no. 2
19. VERDI, Rigoletto, Act I, no. 2
 20. HAYDN, Sonata in E Major, Hob.
XVI: 13
21. BEETHOVEN, Symphony No. 4,
op. 60
22. WEBER, Oberon: Overture
 23. SCHUBERT, Ländler
 24. SCHUBERT, Valses Nobles, op.
77
25. MOZART, Valse
4) Subdominant Triad in Root
Position
Questions for Analysis
 26. SCHEIDT, Bergamasca
 27. SCHUMANN, Faschingsschwank
aus Wien, op. 26, no. 3: Scherzino
 28. CHOPIN, Mazurka, op. 17, no. 1
29. BEETHOVEN, Egmont Overture,
op. 84
30. VERDI, Rigoletto, Act I, no. 7
 31. SCHUBERT, Impromptu, op. 90,
no. 4, D. 899
32. KERN, Look for the Silver Lining
 33. BEETHOVEN, Seven Country
Dances, no. 7
 34. SCHUBERT, Ländler
5) Cadential Tonic Six-Four
Chord
Questions for Analysis
 35. SCHUBERT, Valses
Sentimentales, op. 50, no. 18
36. CHOPIN, Mazurka, op. 24, no. 3
37. DONIZETTI, Lucia di
Lammermoor, Act II, no. 6
38. BEETHOVEN, Trio, op. 97
6) Tonic, Subdominant, and
Dominant Triads in First
Inversion
Questions for Analysis
Model Analysis
 39. BACH, Lobt Gott, ihr Christen,
allzugleich
40. MOZART, Bastien und Bastienne,
K. 46B, no. 9
 41. MOZART, Sonata, K. 332
 42. HAYDN, Sonata in D Major,
Hob. XVI:37
43. MOZART, Abendempfindung,
K. 523
44. BEETHOVEN, Symphony No. 5,
op. 67
45. BEETHOVEN, Fidelio, Act I, no. 9
 46. MOZART, Sonata, K. 570
47. MENDELSSOHN, Elijah, op. 70,
no. 29
 48. COUPERIN, Le Petit Rien
49. DANDRIEU, Les Fifres
7) Supertonic Triad
Questions for Analysis
 50. ANONYMOUS, Dir, dir,
Jehovah, will ich singen
 51. SCHUBERT, Waltz, op. 9, no. 3,
D. 365
 52. BEETHOVEN, Six Variations on
“Nel cor più non mi sento”
53. MOZART, Die Zauberflöte, K. 620,
Act II, no. 21
54. CHOPIN, Zwei Leichen
55. BEETHOVEN, Trio, op. 121A
56. VERDI, Rigoletto, Act II, no. 14
 57. CHOPIN, Mazurka, op. 33, no. 2
58. HAYDN, Sonata in E Minor, Hob.
XVI: 34
8) Inversions of the Dominant
Seventh Chord
Questions for Analysis
 59. J. C. F. BACH, Nun danket alle
Gott
 60. HAYDN, Sonata in C Major,
Hob. XVI: 35
61. PAISIELLO, Le donne sur balcone
62. MOZART, Quartet, K. 464
 63. BEETHOVEN, Sonata, op. 31,
no. 3
64. RAMEAU, Sarabande I, vol. I
65. HAYDN, Trio in C Major, Hob.
XV: 3
 66. KUHLAU, Sonatina, op. 20, no. 1
67. BEETHOVEN, Symphony No. 2,
op. 36
 68. BEETHOVEN, Minuet in C
9) Linear (Embellishing) Six-
Four Chords
Questions for Analysis
69. BEETHOVEN, Concerto No. 1 for
Piano, op. 15
 70. SCHUBERT, Valses
Sentimentales, op. 50, no. 1, D. 779
 71. MOZART, Rondo, K. 485
72. HAYDN, Quartet, op. 3, no. 5
 73. SCHUBERT, Waltz, op. 9, no. 1,
D. 365
 74. KUHLAU, Sonatina, op. 88, no. 3
75. MOZART, Symphony No. 35, K. 385
 76. BEETHOVEN, Sonatina in G
Major
77. BEETHOVEN, Symphony No. 7,
op. 92
78. MOZART, Symphony No. 41, K.
551
 79. HAYDN, Sonata in D Major,
Hob. XVI: 37
 80. BEETHOVEN, Contradanse
81. BUXTEHUDE, Passacaglia
82. BEETHOVEN, Symphony No. 3,
op. 55
83. GOUNOD, Faust, Act I, no. 6
84. SULLIVAN, H.M.S. Pinafore,
“I’m Called Little Buttercup”
10) Submediant and Mediant
Triads
Questions for Analysis
 85. CRÜGER, Herzliebster Jesu,
was hast du verbrochen
 86. ANONYMOUS, Dir, dir,
Jehovah, will ich singen
 87. BACH, Schmücke dich, o liebe
Seele
88. MOZART, Bastien und Bastienne,
K. 46B, no. 1
 89. MOZART, Sonata, K. 545
90. HANDEL, Sonata in F for Flute
and Continuo
91. VERDI, Rigoletto, Act I, no. 1
92. BRAHMS, Symphony No. 4, op. 98
93. CORELLI, Sonata for Violin and
Continuo, op. 5, no. 9
94. SCHUBERT, Quartet in D Major,
D. 74
95. BEETHOVEN, Trio, op. 1, no. 3
 96. MOZART, Sonata, K. 283
 97. J. C. F. BACH, Menuet
98. TESSIER, Au joli bois je m’en vais
99. STRAUSS, Der Rosenkavalier,
Act III
 100. BRAHMS, Romance, op. 118,
no. 5
 101. SCHUMANN, Phantasiestücke,
op. 12, no. 4, Grillen
102. SCHUBERT, Im Abendroth
(Posthumous)
103. SCHUBERT, Symphony in C
Major (“The Great”)
11) Leading Tone Triad
Questions for Analysis
104. TESCHNER, Schatz über alle
Schätze
 105. BACH, Aus meines Herzens
Grunde
 106. SCHUMANN, Album for the
Young, op. 68: Soldatenmarsch
107. HANDEL, Courante
 108. HAYDN, Sonata in E Major,
Hob. XVI: 49
 109. HAYDN, Sonatina in D Major,
Hob. XVI: 4
 110. MOZART, Sonata, K. 280
111. DAQUIN, La Joyeuse
12) Variant Qualities of
Diatonic Triads
Questions for Analysis
Scalar Variants in Minor
112. BACH, Herr, ich habe
mibgehandelt
113. PACHELBEL, Chaconne
114. TELEMANN, Fantasie No. 8
115. BYRD, Pavana “The Earle of
Salisbury”
 116. A. SCARLATTI, Folia
 117. MATTHESON, Minuet
 118. MOZART, Sonata, K. 310
Modal Borrowing
119. VERDI, La Traviata, Act I, no. 4
120. DONIZETTI, Linda di
Chamounix, “O luce di quest’anima”
121. MOZART, Sonata for Violin and
Piano, K. 306
 122. HAYDN, Sonatina in C Major,
Hob. XVI: 7
123. SCHUBERT, Aufenthalt
124. SCHUBERT, Der Wanderer
125. BRAHMS, Symphony No. 3, op. 90
126. VERDI, Il Trovatore, Act II, no. 11
127. BEETHOVEN, Symphony No. 5,
op. 67
128. BRAHMS, Symphony No. 4, op. 98
13) Supertonic Seventh
Chord
Questions for Analysis
 129. ANONYMOUS, Herr, wie du
willst, so schick’s mit mir
130. BACH, Straf ’ mich nicht in
deinem Zorn
131. HAYDN, Sonata in A Major, Hob.
XVI: 46
 132. GRIEG, Voegtersang
133. BEETHOVEN, Symphony No. 6,
op. 68
134. SCHUBERT, Quartet, op. 168,
D. 112
 135. MOZART, Sonata, K. 310
136. SCHUBERT, Ständchen
137. BEETHOVEN, Symphony No. 2,
op. 36
 138. BEETHOVEN, Sonata, op. 14,
no. 2
139. BEETHOVEN, Symphony No. 6,
op. 68
140. BIZET, Carmen, Act II: Entr’acte
141. RODGERS, Blue Moon
14) Leading Tone Seventh
Chord
Questions for Analysis
142. DVORAK, Quartet, op. 96
 143. MOZART, Sonata, K. 457
 144. SCHUMANN, Carnaval, op. 9:
Chiarina
 145. BRAHMS, Ballade, op. 10, no. 4
146. HANDEL, Sonata for Flute and
Continuo
 147. HAYDN (?), Allegro
148. HAYDN, Trio in G Major, Hob.
XV: 25
149. MOZART, Requiem, K. 626:
Offertorium
 150. HAYDN, Sonatina in G Major,
Hob. XVI: 11
151. HANDEL, Judas Maccabaeus,
Part III: No. 53, Introduction
152. WAGNER, Das Rheinghold,
Scene 1
153. GLUCK, Orphée, Act I, no. 1
154. HANDEL, Ariaçon Variazioni,
Leçon No. 1 98
155. TELEMANN, Fantasia, 1er
Dozzina, no. 5
156. MOZART, Sonata for Violin and
Piano, K. 306
15) Other Diatonic Seventh
Chords
Questions for Analysis
 157. BACH, O Ewigkeit, du
Donnerwort
158. MOZART, Rondo. K. 494
 159. MENDELSSOHN, Kinderstück,
T H E O RY F O R M A J O R S
op. 72, no. 1
160. PACHELBEL, Fantasie
161. HANDEL, Sonata for Flute and
Continuo
162. HANDEL, Leçon No. 2, Menuet
163. TCHAIKOVSKY, Symphony No.
4, op. 36
 164. BACH, French Suite in D Minor
16) Complete Pieces for
A nalysis
Questions for Analysis
33 M USIC T H E ORY:
 165. BEETHOVEN, Minuet
 166. SCHUBERT, Dance
 167. SCHUBERT, German Dance, op.
33, no. 12
 168. BEETHOVEN, Scottish Dance
169. PURCELL, Rigadoon
170. RAMEAU, Minuet
 171. WITT, Passacaglia
172. GRIEG, Norsk

PART II: CHROMATIC
MATERIALS
17) Secondary (A pplied,
Borrowed) Dominants
Questions for Analysis
Model Analysis
173. BEETHOVEN, Trio, op. 1, no. 1
174. MOZART, Sonata, K. 281
 175. SCHUBERT, Impromptu, op.
142, no. 3
176. HAYDN, Trio in D Major
 177. BEETHOVEN, Sonatina in G
Major
178. WEBER, Oberon: Overture
179. BEETHOVEN, Trio, op. 1, no. 1
 180. SCHUMANN, Sonata, op. 118c,
Andante
181. BEETHOVEN, Symphony No. 1,
op. 21
 182. HANDEL, Suite XI
183. SCHUMANN, Arabeske, op. 18
184. BEETHOVEN, Symphony No.
4, op. 60
185. SCHUMANN, Widmung, op.
25, no. 1
186. SCHUBERT, Symphony No. 8
(“Unfinished”)
187. SCHUMANN, Sonata, op.
118c126, Puppenwiegenlied
188. SCHUBERT, Quintet (“Die
Forelle”), op. 114, D. 667
189. BEETHOVEN, Quintet, op. 29
190. BEETHOVEN, Trio, op. 11
191. VERDI, Rigoletto, Act II, no. 7
192. HANDEL, Suite XVI
 193. BEETHOVEN, Sonata, op. 53
194. SCHUBERT, Symphony in C
Major (“The Great”)
195. BEETHOVEN, Trio, op. 1, no. 3
196. SCHUBERT, Mass in E Major:
Benedictus
197. MENDELSSOHN, Midsummer
Night’s Dream, op. 61: Wedding
March
198. VERDI, Rigoletto, Act II, no. 14
199. BACH, Christmas Oratorio, no. 4:
Introduction
T H E O RY F O R M A J O R S
200. HANDEL, Sonata VII for Flute
and Continuo
 201. CHOPIN, Mazurka, op. 67, no. 2
 202. CHOPIN, Valse, op. 69, no. 1
 203. CHOPIN, Valse Brillante, op.
34, no. 3
204. GERSHWIN, Someone to Watch
Over Me
 205. TCHAIKOVSKY, Morning
Prayer
18) Modulation To Closely
R elated K eys
34 M USIC T H E ORY:
Questions for Analysis
Modulation to Dominant
206. MOZART, Symphony No. 39,
K. 543
 207. MOZART, Sonata, K. 331
208. BEETHOVEN, Symphony No.
2, op. 36
 209. HAYDN, Minuet
210. SCHUBERT, Quartet, D. 173
 211. HAYDN, Sonata in C Minor,
Hob. XVI: 36
212. MOZART, Symphony No. 41, K.
551
 213. CHOPIN, Mazurka, op. 7, no. 2
 214. HAYDN, Sonata in G Major,
Hob. XVI: 39
 215. MOZART, Sonata, K. 282,
Menuet I
216. SCHUBERT, Quartet, D. 173
Modulation to Relative Major
217. HAYDN, Trio in F Minor, Hob.
XV: 26
 218. HAYDN, Sonata in E Minor,
Hob. XVI: 34
 219. MOZART, Sonata, K. 330
220. DONIZETTI, Lucia di
Lammermoor, Act I, Cavatina
221. BRAHMS, Quintet, op. 115
222. BEETHOVEN, Symphony No.
7, op. 92
223. HAYDN, Symphony No. 104,
Hob. I: 104
Modulation to other Closely Related
Keys
 224. HAYDN, Sonatina, Hob. XVI: 1
225. BONONCINI, Deh più a me non
vàscondete
226. SAINT-SAËNS, Carneval des
Animaux: Le Cygne
 227. BRAHMS, Waltz, op. 39, no. 15
228. BEETHOVEN, Quartet, op. 18,
no. 2
229. PURCELL, Dido and Aeneas, Act
I, scene I
 230. BACH, French Suite in C Minor
19) Complete Pieces for
A nalysis II
Checklist for Analysis
 231. BACH, Wachet auf, ruft uns die
Stimme
 232. BACH, In dulci jubilo
233. BACH, Christ lag in Todesbanden
 234. HANDEL, Menuet
 235. BEETHOVEN, Sonata, op. 26
236. SCHUMANN, Sonata, op. 118b.,
Abendlied
 237. BRAHMS, Waltz, op. 39
 238. HANDEL, Prelude
 239. BEETHOVEN, Sonatina in F
Major
240. HAYDN, Sonata in G Major, Hob.
XVI: 27
* 241. GERSHWIN, I Got Rhythm
20) Linear (Embellishing)
Diminished Seventh Chords
Questions for Analysis
242. HAYDN, Symphony No. 104,
Hob. I: 104, Menuet
243. BEETHOVEN, Symphony No.
7, op. 92
244. LISZT, Les Préludes
 245. BEETHOVEN, Contradanse
246. TCHAIKOVSKY, Symphony No.
6, op. 74
247. BEETHOVEN, Quartet, op. 18,
no. 3
248. SCHUBERT, Sonata, op. 53
249. GOUNOD, Faust, Act IV, no. 18
 250. SCHUMANN, Carnaval, op. 9:
Arlequin
 251. MOZART, Waltz, K. 567
252. WAGNER, Rienzi: Overture
253. BELLINI, I Puritani, Act II, scene 3
254. HAYDN, Symphony No. 104,
Hob. I: 104
255. RODGERS, The Girl Friend
256. BRAHMS, Liebeslieder Walzer,
op. 52, no. 4
21) Neapolitan Triad
Questions for Analysis
 257. MOZART, Concerto in A Major,
K. 488
258. SCHUBERT, Der Müller und der
Bach
 259. BACH, Ach Gott, vom Himmel
sieh’ darein
 260. BACH, Invention No. 13
261. VERDI, Il Trovatore, Act II, no. 8
 262. BRAHMS, Intermezzo in A
Major, op. 118, no. 2
 263. CHOPIN, Prelude, op. 28, no. 20
264. BEETHOVEN, String Quartet,
op. 59, no. 2
265. BRAHMS, Wie Melodien zieht es
mir, op. 105
266. BEETHOVEN, Quartet, op. 18,
no. 3
267. SCHUBERT, Mass in E Major:
Credo
268. BACH, The Well-Tempered
Clavier, Vol. II, Fugue 17
 269. CHOPIN, Prelude, op. 28, no. 6
22) Augmented Sixth Chords,
Submediant Degree as
L owest Note
Questions for Analysis
Model Analysis
Italian
270. BACH, Ich hab’ mein’ Sach’ Gott
heimgestellt
 271. BEETHOVEN, Bagatelle, op.
119, no. 1
272. BEETHOVEN, Coriolan
Overture, op. 62
 273. TCHAIKOVSKY, Mazurka
274. SCHUBERT, Quartet, op. 168,
D. 112
275. BEETHOVEN, Symphony No.
1, op. 21
German
 276. MOZART, Sonata, K. 457
 277. BEETHOVEN, Sonata, op. 109
278. HAYDN, Trio, Hob. XV: 25
 279. BEETHOVEN, Thirty-Two
Variations, Var. 30  312. SCHUBERT, Waltz, op. 9, no.
280. SIBELIUS, Chanson Sans Paroles,
op. 40, no. 2
281. STRAUSS, Der Rosenkavalier, Act I
French
282. MENDELSSOHN, Elijah, op. 70,
no. 1 op. 92
283. SCHUBERT, Mass in G Major:
Kyrie no. 6
284. BACH, Wer nur den lieben Gott
läßt walten
 285. SCHUBERT, Sonata, op. 42
286. VERDI, La Traviata, Act III:
Prelude
287. SCHUBERT, Symphony in C
Major (“The Great”)
 288. GRIEG, Alfedans, op. 12
289. HERBERT, Gypsy Love Song
Enharmonic German
290. SCHUMANN, Dichterliebe,
op. 48, no. 12: “Am leuchtenden
Sommermorgen”
23) Augumented Sixth
Chords, Other Scale
Degrees as Lowest Note
Questions for Analysis
 291. MOZART (?), Adagio
 292. GRANADOS, Valses Poeticos
293. SCHUBERT, Symphony No. 8
(“Unfinished”)
294. MOUSSORGSKY, Songs and
Dances of Death, no. 4
295. GLUCK, Orphée, Act I, nos. 6 and 7
24) Augumented Sixth
Chords, Other Uses
Questions for Analysis
Linear
296. VERDI, Rigoletto, Act I: Prelude
 297. TCHAIKOVSKY, Song Without
Words
298. TCHAIKOVSKY, Romeo and
Juliet
 299. SCHUBERT, Waltz
 300. BRAHMS, Intermezzo, op. 76,
no. 4
 301. TCHAIKOVSKY, The Witch
Secondary
 302. CHOPIN, Prelude, op. 28, no.
22
303. SCHUBERT, Mass in G Major:
Benedictus
304. SCHUBERT, Die Allmacht, op.
79, no. 2
Altered Dominants
305. SCHUBERT, Quintet, op. 163
 306. LISZT, Liebestraum, no. 3
307. RIMSKY-KORSAKOV,
Snowmaiden, Chanson du Bonhomme
Hiver
 308. GRIEG, Solvejg’s Lied
25) Other Means of
Modulation
Questions for Analysis
Model Analysis
309. SCHUBERT, Mass in G Major:
Gloria
310. BRAHMS, Wenn du nur zuweilen
lächelst, op. 57, no. 2
311. BEETHOVEN, Symphony No. 5,
op. 67
14, D. 365
313. MOZART, Die Entführung aus
dem Serail, K. 384, Act III, no. 18
314. SCHUMANN, Symphony No. 2,
op. 61
315. BEETHOVEN, Symphony No. 7,
316. HAYDN, String Quartet, op. 76,
 317. BEETHOVEN, Sonata, op. 13
318. BEETHOVEN, Trio, op. 70, no. 1
 319. SCRIABIN, Prelude, op. 13,
no. 3
320. J. STRAUSS, Die Fledermaus:
Overture
321. BRAHMS, Wie bist du meine
Königen, op. 32, no. 9
322. SCHUBERT, Mass in A Major:
Agnus Dei
323. BEETHOVEN, Trio, op. 11
324. RACHMANINOFF, Melodie, op.
3, no. 3
325. SCHUBERT, Symphony No. 8
(“Unfinished”)
26) Ninth Chords
Questions for Analysis
Dominant Ninths
 326. J. STRAUSS, Artist’s Life
Waltzes, op. 316, no. 3
327. FRANCK, Sonata for Violin and
Piano
 328. BEETHOVEN, Andante
 329. CHOPIN, Valse Brillante, op.
34, no. 1
330. SCHUMANN, Waldesgespräch,
op. 39, no. 3
 331. CHOPIN, Prelude, op. 28, no. 15
Secondary Dominant Ninths
332. BACH, St. Matthew Passion, no. 78
333. SCHUMANN, Genoveva, op. 81:
Overture
 334. GRIEG, Grandmother’s Minuet,
op. 68, no. 2
 335. SCHUMANN, Kinderszenen,
op. 15, no. 7: Träumerei
Nondominant Ninths
 336. GRIEG, Wedding Day at
Troldhaugen, op. 65, no. 6
337. MENDELSSOHN, Midsummer
Night’s Dream, op. 21: Overture
338. FAURÉ, Après un Rêve
27) E xtended Linear Usages
Questions for Analysis
Model Analysis
 339. CHOPIN, Mazurka, op. 6, no. 1
340. BRAHMS, “Der Tod, das ist die
kühle Nacht,” op. 96, no. 1
341. WEBER, Euryanthe: Overture
 342. BRAHMS, Variations on a
Theme by Handel, var. 20
343. FRANCK, Symphony in D Minor
344. WAGNER, Lohengrin, Act I,
scene 2
345. WAGNER, Wotan’s Farewell, Die
Walküre, Act III
 346. CHOPIN, Prelude, op. 28, no. 9
347. BEETHOVEN, Quartet, op. 18,
no. 6
348. BACH, Ein’ feste Burg ist unser
Gott 336
349. BACH, Es ist genug, so nimm,
Herr 337
28) Complete Pieces for
A nalysis III
Checklist for Analysis
350. MOZART, Minuet, K. 355
351. SCHUMANN, Myrthen, op. 25,
no. 24
 352. MENDELSSOHN, Lieder ohne
Wörte, op. 30, no. 3
353. CHOPIN, Mazurka, op. posth.
67, no. 2
354. SCHUMANN, Phantasiestücke,
op. 12, no. 3: Warum?
 355. GRIEG, Erotikon
 356. LISZT, Il pensieroso, from
Années de Pèlerinage
357. R. STRAUSS, Morgen, op. 27,
no. 4
358. WAGNER, Der Engel
359. BEETHOVEN, Sieben
Variationen: Über das Volkslied: God
Save the King
360. MOZART, Symphony No. 40,
K. 550
361. BEACH, Phantoms
362. SCOTT JOPLIN, A Breeze from
Alabama: March and Two-Step
* 363. Wagner, Prelude to Act I from
Tristan und Isolde
364. MOZART, Sonata, K. 309
I. Allegro con spirito
II. Andante, un poco Adagio
III. Allegretto grazioso
* 365. Beethoven, Sonata, op. 2, no. 3
29) E xamples of Counterpoint
Questions for Analysis
366. BACH, Cantata No. 4: Sinfonia 338
367. BACH, Chorale Prelude on “In
Dulci Jubilo” 339
368. BACH, Chorale Prelude on “Christ
lag in Todesbanden” 342
369. BRAHMS, Chorale Prelude on
“O Wie selig seid ihr doch, ihr
Fommen” 343
370. PURCELL, “Thy hand Belinda,”
from Dido and Aeneas 345
371. BACH, Invention No. 4, BWV
775 349
372. BACH, Invention No. 13, BWV
775 351
373. BACH, Sinfonia 3, BWV 789 352
374. BACH, The Well-Tempered
Clavier, Vol. I, Fugue 2 354
375. BACH, The Well-Tempered
Clavier, Vol. II, Fugue 9 357
376. MENDELSSOHN, Fugue No. 2,
op. 35
PART III: CONTEMPORARY
MATERIALS
Model Analysis
30) E xtended and A ltered
Tertian H armony
Questions for Analysis
377. HANSON, Symphony No. 2, op. 30
378. KABALEVSKY, Sonatina, op. 13
379. HOVHANESS, Mysterious
Mountain
380. SHOSTAKOVICH, Prelude, op.
34, no. 24
381. DEBUSSY, Pelléas et Méllisande,
Act I, scene 1
 382. SCRIABIN, Poem, op. 32, no. 2
383. RAVEL, Valses Nobles et
Sentimentales
384. RODGERS, Slaughter on Tenth
Avenue
385. ELLINGTON, Prelude to a Kiss
386. DUKE JORDAN, Jordu
387. BERG, Four Songs, op. 2, no. 3
* 388. Raksin, Laura
31) Diatonic (Church) Modes
Questions for Analysis
Model Analysis
389. BARTOK, Little Pieces for
Children, no. III
390. CHÁVEZ, Ten Preludes, no. 1
391. POULENC, Valse
392. DEBUSSY, Trois Chansons, no. 1
393. KABALEVSKY, Toccatina
394. BRITTEN, Ceremony of Carols,
no. 8
395. DEBUSSY, Suite bergamasque,
Passepied
396. FLOYD, Susannah, Act II, scene 3
397. STRAVINSKY, Five Fingers: Lento
398. BARTOK, Fourteen Bagatelles,
op. 6, no. 4
399. CASELLA, Siciliana
400. ADDERLEY, Work Song
32) Pandiatonicism and
A dditive H armony
Questions for Analysis
401. RAVEL, Mother Goose Suite: The
Magic Garden
402. MILHAUD, Touches Blanches
403. COWELL, The Irishman Dances
404. COPLAND, The Young Pioneers
405. BARBER, Excursions, III
406. STRAVINSKY, Petroushka, Danse
Russe
407. POULENC, Gloria, Laudamus te
33) E xotic (A rtificial,
Synthetic) Scales
Questions for Analysis
408. MILHAUD, Touches Noires
409. BARTOK, Mikrokosmos, no. 78:
Five Tone Scale
410. KODÁLY, Valsette
411. VAUGHAN WILLIAMS, London
Symphony
 412. DEBUSSY, Préludes, II: Voiles
413. BARTOK, Mikrokosmos, no. 136:
Whole Tone Scale
414. DEBUSSY, Pelléas et Mélisande,
Act II, scene 1
415. BARTOK, Fourteen Bagatelles, op.
6, no. 10
416. LUTOSLAWSKI, Bucolic, no. 3
417. BARTOK, Mikrokosmos, no. 101:
Diminished Fifth
418. BARTOK, Sketches, op. 9, no. 6
419. BARTOK, Fourteen Bagatelles, op.
6, no. 6
34) Quartal and Secundal
H armony
Questions for Analysis
420. HINDEMITH, Mathis der Maler:
Grablegung
421. IVES, Majority
422. KRENEK, Piano Piece, op. 39,
no. 5
423. HINDEMITH, Ludus Tonalis,
Fuga secunda in G
424. BARTOK, Concerto for Orchestra
425. BERG, Wozzeck, Act II
426. BARTOK, Mikrokosmos, no. 107:
Melody in the Mist
427. BERG, Wozzeck, Act II
428. COWELL, Tiger
429. IVES, Majority
430. BRUBECK, Blue Rondo à la Turk
35) Polyharmony and
Polytonality
Questions for Analysis
431. HONEGGER, Symphony No. 5
432. SCHUMAN, A Three-Score Set, II
433. KRAFT, Allegro Giocoso
434. STRAVINSKY, The Rake’s
Progress: Prelude
435. STRAVINSKY, Petroushka,
Scene 2
436. MILHAUD, Saudades do Brazil,
no 7: Corcovado
437. BARTOK, Forty-Four Violin
Duets, no. 33
438. BRUBECK, Strange Meadowlark
36) Free Atonality
Questions for Analysis
439. SCHÖNBERG, Drei
Klavierstücke, op. 11, no. 1
440. SCHÖNBERG, Klavierstücke, op.
19, no. 2
441. SCHÖNBERG, Pierrot Lunaire,
op. 21, no. 1: Mondestrunken
442. WEBERN, Five Movements for
String Quartet, op. 5, no. 4
443. BARTOK, Mikrokosmos, no. 144:
Minor Seconds, Major Sevenths
444. BARTOK, Fourth String Quartet
445. BERGER, Two Episodes, I
37) Twelve-Tone Serialism
Questions for Analysis
Model Analysis
446. KRENEK, Dancing Toys, op. 83,
no. 1
447. SCHÖNBERG, Suite für Klavier,
op. 25: Gavotte
448. DALLAPICCOLA, Cinque
Frammenti di Saffo
449. WEBERN, Drei Lieder, op. 25,
no. 1
38) Music Since 1945
Questions for Analysis
450. STOCKHAUSEN, Klavierstücke,
no. 2
451. LUTOSLAWSKI, String Quartet
(1965)
452. PENDERECKI, String Quartet,
no. 2
453. CRUMB, Madrigals, Book IV
454. DRUCKMAN, Valentine, for solo
contrabass
455. ROUSE, Valentine
456. HORNE, Six Short Studies,
Sixteenth Notes
39) Complete Pieces for
A nalysis IV
Suggestion for Analysis
457. RAVEL, Sonatine, Mouvt II
 458. DEBUSSY, Pour le Piano:
Sarabande
 459. DEBUSSY, Préludes, X: La
Cathédrale engloutie
T H E O RY F O R M A J O R S
460. MILHAUD, Saudades do Brazil,
no. 6: Gavea
461. PROKOFIEV, Classical Symphony,
op. 25
462. PROKOFIEV, March from The
Love of Three Oranges
463. HINDEMITH, Ludus Tonalis,
Fuga undecima in B (Canon)
464. RUGGLES, Evocations, no. 1
465. SCHÖNBERG, Suite für Klavier,
op. 25: Menuett
466. PORTER, Night and Day
35 M USIC T H E ORY:
467. GERSHWIN, Porgy and Bess,
“Summertime”
468. STRAVINSKY, Sonata for Two
Pianos, II: Theme with Variations
469. HINDEMITH, Piano Sonata,
no. 2
470. MACMILLAN, Piano Sonata, I
Appendix A. Checklist for Analysis and
Sample Analysis
Appendix B. For Further Reference
Appendix C. Textbook Correlation Chart
Index of Composers and Their
Compositions
Index of Complete Pieces

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An introduction to class piano that is systematic, creative,
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Contemporary Class Piano
Si xth Edition Enhanced
Elyse M ach, Northeastern Illinois Universit y
H ighly acclaimed for its creative approach to beginning piano, Contemporary Class Piano presents materials in an
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FE AT U R E S
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c o n t e n t s
UNIT 1. KEYBOARD Classic Miniatures: Gurlitt, Five-Finger Studies and Worksheet Review
BASICS The Contest, op. 136, no. 3 Triads in Major and Minor
R eading
Keyboard Posture Beyer, Two Études More Tempo Markings
Mach, Sahara
Finger Numbers R epertoire Pieces Using Major and
Minor Triads Mach, Shoestring Boogie
Basic Note Values Bártok, Melody (no. 1 from
First Term at the Piano) The Dominant Seventh Classic Miniatures: Reinagle,
The Keyboard Minuet
Chord
The Major Five-Finger
Ensemble Pieces
Block-Chord Accompani- Beyer, Étude in A Minor, op.
Pattern Wohlfahrt, Waltz, op. 87, 101, no. 60
ments with I and V65
no. 39 (from The Children’s
Dynamics
Musical Friend) Music Chord Symbols R epertoire
Reading Notes Beyer, Étude in D
Mach, Ancient Chinese Bells Five-Finger Melodies with
Intervals Letter-Name Chord Ensemble Pieces
UNIT 2. THE FIVE-
Keeping Time FINGER PATTERN
Symbols for I and V65 Chord
Accompaniments Diabelli, Scherzo, op. 149, no.
6 (from Melodious Pieces)
Slur and Phrase Markings Playing in Different Registers
The Subdominant Chord
Key Signature Tempo Markings UNIT 3. PIECES
Cadences WITH EASY
Transposition More Dynamic Markings ACCOMPANIMENTS
The Circle of Fifths and
Eighth Notes and Eighth Dotted Quarter Notes Major Key Signatures Major Scales
Rests
Accidentals Pieces with I–IV64 –V65 Major Scales in Tetrachord
Drone Bass Accompaniments Position
Slurs
Repertoire Five-Finger Melodies with Major Scales with Fingerings
Parallel Motion
Improvisation Letter-Name Chord for Both Hands Together
6
8 Time Symbols for I, IV64 , and V65
Harmonization Scale Studies in Clusters
Identifying Flat Key Chord Accompaniments
Sightreading Studies Signatures Changing Five-Finger Triads on Major-Scale
Degrees
Technical Studies Change of Dynamics Positions
Repertoire Intervals of a Sixth, Seventh,
Rhythmic Studies Contrary Motion and Eighth (Octave)
Improvisation
Ensemble Pieces Major Triads Extending the Five-Finger
Worksheet Review Five-Finger Studies and Creative Music and Position
Triads in Major Harmonization
R eading Sixteenth Notes and
The Minor Five-Finger Sightreading Studies Sixteenth Rests
Keveren, A Jazz Waltz
Pattern Rhythmic Studies The Dotted Eighth Note
Beethoven, Shepherd’s Song
(“Pastoral” from Symphony Minor Triads Technical Studies Musical Forms: AB and ABA
No. 6 ) Ensemble Pieces
Melodies with Letter-Name UNIT 4. TONALITY AND Strumming Accompaniments 18. Starer, Evens and Odds ALSO of INTER EST
Chord Symbols for I, IV64 , ATONALITY
Arpeggio Accompaniments 19. Gillock, Autumn Is Here
and V65 Chords
Minor Scales
Broken-Chord
Major and Minor Seventh 20. Hartsell, Moonlit Shores Includes 2 CDs
Minor Key Signatures Chords
Accompaniment Patterns 21. Mier, Sneaky Business
Natural Minor Scales in Letter-Name Chord Chart
Arpeggio Accompaniment 22. Tingley, Dreamscape
Tetrachord Positions
Patterns Ensemble Pieces
23. Tingley, Early Spring
Harmonic Minor Scales
Syncopation Melodies to 24. Miller, Festive Dance
The Damper Pedal
i–iv64 –i–V65 –i Chord H armonize
Progression 25. Rameau, Rondino
Dona Nobis Pacem
Other Accompaniment 26. Beethoven, Russian
Parallel Major and Minor
Patterns Hush Little Baby
Scales Folksong
Secondary Chords Offenbach, O Mon Cher
Other Scale Forms (Modes) 27. Gurlitt, Night Journey
Amant (from Perichole)
Intervals Within the Scale 28. Tchaikovsky, Italian Song
The Chromatic Scale
Melodic Lines with Intervals
Jazz
Two Guitars
Danube Wave
29. Schytte, Étude in D Major Learning
Chord Inversions
The Damper Pedal (Indirect
Pandiatonicism
Mozart, Theme from
30. Tansman, Au Jardin (To
the Garden)
Piano
The Whole-Tone Scale Symphony No. 40, K. 550 Piece by Piece
Pedaling) 31. Olson, Razz-Ma-Tazz
Bitonality UNIT 6. THIRTY-ONE Elyse Mach
Hymn Style APPENDIX A. SCORE
PIANO CLASSICS
Atonality
Augmented and Diminished READING 2005 288 pp. paper
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APPENDIX B. MAJOR
4. Krieger, Minuet in A Minor
Creative Music and Bitonal Improvisation AND HARMONIC
Harmonization 5. Witthauer, Gavotte MINOR SCALES IN
Sightreading Studies
TWO OCTAVES
Sightreading Studies 6. Telemann, Gigue
Ensemble Pieces
Major Scales in Two Octaves
Rhythmic Studies 7. Mozart, L., Burleske (from
Worksheet Review
Notebook for Wolfgang) Harmonic Minor Scales in
Technical Studies R eading Two Octaves
8. Haydn, Gypsy Dance (Trio)
Ensemble Pieces Dark Eyes APPENDIX C. THREE
9. Bach/Ricci, Risoluto
Worksheet Review Classic Miniatures: Köhler, PATRIOTIC SONG
10. Mozart, W.A., Minuet ARRANGEMENTS
R eading Étude, op. 190, no. 31
in C
Rousseau, The Village Prophet 1. Carey, America
Gurlitt, Moving Along
11. Beethoven, German
R epertoire 2. Bates/Ward, America the
Mach, Apple Street Rag Dance
Beautiful
Classic Miniatures: Kuhlau, Salutrinskaya, Shepherd Pipes 12. Schumann, Melody (from
3. Key/Smith, The Star-
Scotch Dance Ensemble Pieces 43 Piano Pieces for the
Spangled Banner
Young, Op. 68)
Türk, Teasing Tchaikovsky, Sugar Plum APPENDIX D.
13. Rebikoff, The Bear
R epertoire Fairy Dance (from The PERFORMANCE
Nutcracker Suite) 14. Bartók, Springtime Song TERMS AND SYMBOLS
Mach, Perpetual Motion
Wells, Gallop (No. 2 from For Children,
Oesten, Hunting Horns Title Index
Vol. 1)
UNIT 5. LETTER-NAME Composer Index
Ensemble Pieces CHORD SYMBOLS 15. Kadosa, Homage to Bartók
Au Clair de la Lune Subject Index
Letter Names of I, IV, and V7 16. Kabalevsky, A Conversa-
Howard, Hello, Ma’ Baby Chords tion (Op. 39, No. 7) 2007 624 pp. spiral-bound
17. Hovhaness, Moon Dance paper APS CCPEED
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