
Music in Theory and Practice Volume 2
by Benward, Bruce; Saker, Marilyn-
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Summary
The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
Table of Contents
PrefacePart A: The Renaissance And Baroque Periods
Chp. 1: Late Renaissance PolyphonyChp. 2: Two-Voice Eighteenth Century CounterpointChp. 3: The FuguePart B: Chromatic Harmony
Chp. 4: Borrowed ChordsChp. 5: Neapolitan 6th ChordsChp. 6: Augmented 6th ChordsPart C: The Classical Period (1750-1825
Chp. 7: Variation TechniqueChp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 2: Two-Voice Eighteenth Century CounterpointChp. 3: The FuguePart B: Chromatic Harmony
Chp. 4: Borrowed ChordsChp. 5: Neapolitan 6th ChordsChp. 6: Augmented 6th ChordsPart C: The Classical Period (1750-1825
Chp. 7: Variation TechniqueChp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Part B: Chromatic Harmony
Chp. 4: Borrowed ChordsChp. 5: Neapolitan 6th ChordsChp. 6: Augmented 6th ChordsPart C: The Classical Period (1750-1825
Chp. 7: Variation TechniqueChp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 6: Augmented 6th ChordsPart C: The Classical Period (1750-1825
Chp. 7: Variation TechniqueChp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Part D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Part E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
Chp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex
AppendixesGlossaryCreditsIndex
CreditsIndex
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