Introduction to Post-Tonal Theory
Pearson New International Edition
3rd Edition
Published on 1. November 2013
Book
Paperback/Softback
184 pages
978-1-292-04072-1 (ISBN)
Description
For undergraduate/graduate-level courses in Twentieth-Century Techniques, and Post-Tonal Theory and Analysis taken by music majors.
A primer-rather than a survey-this text offers exceptionally clear, simple explanations of basic theoretical concepts for the post-tonal music of the twentieth century. Emphasising hands-on contact with the music-through playing, singing, listening, and analysing-it provides six chapters on theory, each illustrated with musical examples and fully worked-out analyses, all drawn largely from the "classical" pre-war repertoire by Schoenberg, Stravinsky, Bartok, Berg, and Webern.
A primer-rather than a survey-this text offers exceptionally clear, simple explanations of basic theoretical concepts for the post-tonal music of the twentieth century. Emphasising hands-on contact with the music-through playing, singing, listening, and analysing-it provides six chapters on theory, each illustrated with musical examples and fully worked-out analyses, all drawn largely from the "classical" pre-war repertoire by Schoenberg, Stravinsky, Bartok, Berg, and Webern.
More details
Edition
3rd edition
Language
English
Place of publication
Harlow
United Kingdom
Target group
Professional and scholarly
Dimensions
Height: 280 mm
Width: 215 mm
Thickness: 10 mm
Weight
408 gr
ISBN-13
978-1-292-04072-1 (9781292040721)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
E-Book
10/2013
3rd Edition
Pearson Education Limited
€42.80
Available for download
Content
1. Basic Concepts and Definitions.
Analysis 1: Webern, Wie bin ich froh! from Three Songs, Op. 25. Schoenberg, Nacht, from Pierrot Lunaire, Op. 21.
2. Pitch-Class Sets.
Analysis 2: Schoenberg, Book of the Hanging Gardens, Op. 15, No. 11. Bartok String Quartet No. 4, first movement. 4. Centricity, Referential Collections, and Triadic Post-Tonality.
Analysis 4: Stravinsky, Oedipus Rex, rehearsal nos. 167-70. Bartok, Sonata, first movement.
5. Basic Twelve-Tone Operations.
Analysis 5: Schoenberg, Suite for Piano, Op. 25, Gavotte. Stravinsky, In Memoriam Dylan Thomas.
Appendix 1. List of Set Classes.
Appendix 2. Index Vectors.
Index.
Analysis 1: Webern, Wie bin ich froh! from Three Songs, Op. 25. Schoenberg, Nacht, from Pierrot Lunaire, Op. 21.
2. Pitch-Class Sets.
Analysis 2: Schoenberg, Book of the Hanging Gardens, Op. 15, No. 11. Bartok String Quartet No. 4, first movement. 4. Centricity, Referential Collections, and Triadic Post-Tonality.
Analysis 4: Stravinsky, Oedipus Rex, rehearsal nos. 167-70. Bartok, Sonata, first movement.
5. Basic Twelve-Tone Operations.
Analysis 5: Schoenberg, Suite for Piano, Op. 25, Gavotte. Stravinsky, In Memoriam Dylan Thomas.
Appendix 1. List of Set Classes.
Appendix 2. Index Vectors.
Index.