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Harmonic Practice in Tonal Music (Englisch) Gebundene Ausgabe – März 1997


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Produktinformation

  • Gebundene Ausgabe: 680 Seiten
  • Verlag: WW Norton & Co (März 1997)
  • Sprache: Englisch
  • ISBN-10: 0393970744
  • ISBN-13: 978-0393970746
  • Größe und/oder Gewicht: 24,3 x 20 x 2,9 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (7 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 873.458 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Synopsis

This textbook takes a linear, functional approach to tonal music in the common-practice era, explaining how both harmonic and melodic forces contribute to the development of musical structures. Coverage includes the basic elements of music; functional diatonic harmony, modulations, and sequences; th -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

Der Verlag über das Buch

A brand new introduction to harmonic theory!
A concise yet comprehensive treatment of harmonic andvoice-leading principles using tonal compositions from traditional,folk, popular, jazz, rock, and classical repertories of the 17th-20th centuries. This text combines traditional chordal analysis with recent analytical methods to help explain harmonic function in a linear framework. Its attractive, two-color design sets off special sections that deal with specific harmonic processes, partwriting procedures, and explorations of formal structure.

Kundenrezensionen

Die hilfreichsten Kundenrezensionen

1 von 1 Kunden fanden die folgende Rezension hilfreich Von Ein Kunde am 17. Februar 2000
Format: Gebundene Ausgabe
This book is quite good despite some of the reviews presented here. The MAIN reason I adopted this book for my Harmony Class was due to the fact that my students reviewed it and they found it to be superior to the textbook we had been using. (5th Edition DeVoto/Piston-Ouch!) What I like about the book is that it teaches structure/color & structure/motion from the beginnning. Even though it doesn't use full blown Schenkerian analysis, my class and I have found the graphs to be extremely helpful in understanding the underlying structure of a work. It is one of the few texts that demonstrate that there is more to analyzing music than the, impressive but sadly inefficient, Roman Numerals. I have yet to find a perfect Harmony textbook, but this one is close. I recommend it highly.
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Format: Gebundene Ausgabe
Robert Gauldin's textbook aims at instilling in the student an awareness of the linear forces that create music. In his preface, Gauldin states that traditional theory and functional harmonic analysis "tends to neglect the melodic aspects of the music and the way those linear forces shape the harmony." This point of view is heartily endorsed by this reviewer. The text is organized into four main sections: basic elements of music, diatonic harmony (including binary/ternary form), chromatic harmony (including sonata form and contrapuntal forms), and advanced chromatic techniques. Five appendices include acoustics, modes and scales, species counterpoint, Jazz and commercial music, and conducting patterns. The text purposes to introduce students to linear-reductive (i.e., Schenkerian) analysis on lower structural levels (reductions tend to be foreground and early middleground). As it is not a text in Schenkerian analysis per se, and as the more remote structural levels are progressively more difficult to perceive Gauldin does not burden the students with Schenker's more esoteric terminology for larger formal constructs. Gauldin also provides the student with an introduction to the implication-realization models of Leonard B. Meyer. The explanations of concepts are lucid and conversational; the analyses are insightful and reveal to the student the fundamental voice leading underlying a given passage. The text is very attractively produced, and joins the texts of Mitchell (Elementary Harmony), Aldwell & Schachter (Harmony & Voice Leading), and Forte (Tonal Harmony in Concept & Practice) in the task of attempting to enlighten and sensitize students to the melodic dimension of music, of which harmony is a by-product.Lesen Sie weiter... ›
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Von Ein Kunde am 28. Januar 1999
Format: Gebundene Ausgabe
Gauldin's text is very frustrating to read because the language and presentation is loose and imprecise. He thoroughly confuses the topic of the diatonic scale by defining a semitone on p. 10 (note the misprint in the definition, which is repeated later in the text) by a rigorous method, and then on p. 27 suggests building the scale upward by perfect fifths. Why? The latter is a totally differnt scale and does not even close on the octave. You can't make a scale with only perfect fifths, but the author not only leaves you with the impression you can, but, in addition, that such a scale is the same as the equal tempered scale. If used at all, the concept of building from fifths ought to: 1. be clarified, and 2. introduced before the equal tempered scale rather than the reverse. This is one example. Similarly confusing treatments of basic concepts are found in every chapter.
The book lacks problem sets by chapter. Instead they are put into an overpriced additional book. The problems are often only loosely tied to the text, and tend to start at too high a level of difficulty. There is no attempt to have a graduated set of exercises.
In case you elect not to buy the workbook, the author provides a second set of problems in the body of the text which he calls "examples." Example 9 on p. 106 asks the student to write a voice leading reduction on a staff in the textbook proper, not the workbook. Is this an example or a problem? Why even suggest writing music in the text if there is a workbook?
Many of these "examples" contain critical information and ought to be true examples and either have the answers written in, or given in the margins of the text.
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Von Ein Kunde am 15. Juli 1999
Format: Gebundene Ausgabe
True, it's expensive (especially with the workbook). Also, the writing is sometimes so convoluted that I, a theory professor, had difficulty getting the point. That's because it's ambitious; it tries to present tonal harmony as music theorists understand it, with attention to the underlying principles, rather than trying to simplify and get quick results the way most of its competition does. It's just plain more interesting than any other standard theory text. One reviewer here complained about building the scale out of fifths; well, the possibility of doing that is an important aspect of tonal harmony, and the fact that it doesn't quite work is one of the tensions that makes tonal music vital.
Another reviewer complained that the book starts at too high a level. The question is, for whom? This book is aimed at people who are fairly familiar with "classical" music and already read music fluently. I've only used it in the classroom, where I help students make sense of it. If you try to read it on your own, you'll find it quite a slog, but it might be worth it.
Judging by student reviews on this page, students aren't as enthusiastic as teachers about this book, which suggests that we teachers think this book can be a very useful part of a course, though it may not quite stand on its own. I've been very happy; I adopted the book last fall and within a semester my students were doing better work than I had ever seen before. Those students are intellectually above average, but not brilliant musicians.
I hope a future edition will have clearer writing.
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