This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Section 1 - Graphic Music Analysis Chapter 1: Highlighting Notes and Making Connections between Them Chapter 2: Figuration Chapter 3: The Linear Progression Chapter 4: The 5-6 succession Chapter 5: Structural Levels Chapter 6: The Introduction to Mozart's "Dissonance" Quartet Section 2 - Semper idem, sed non eodem modo Chapter 7: The Fundamental Structure (Ursatz) Chapter 8: Urlinie Descents from 3 Chapter 9: Urlinie Descents from 5 Section 3 - Techniques of Elaborating the Ursatz Chapter 10: Substitution Chapter 11: Delaying the Initial Tone of the Urlinie Chapter 12: Boundary Play and the Obligatory Register Chapter 13: Sequences Chapter 14: Non-Structural Harmonies Chapter 15: Implied Tones Chapter 16: Mixture Chapter 17: Relocating the Urlinie Chapter 18: The Phrygian 2 Chapter 19: The Auxiliary Cadence Chapter 20: Non-Tonic Expansions Section 4 - Tonal Structure and Musical Form Chapter 21: The Parallel Period (A A¿) Chapter 22: Variants of the Parallel Period Chapter 23: A B A Form Chapter 24: A B A' Form (with simple A) Chapter 25: A B A' Form (with compound A) Chapter 26: Sonata Form in the Major Mode Chapter 27: Sonata Form in the Minor Mode Epilogue
Section 1 - Graphic Music Analysis Chapter 1: Highlighting Notes and Making Connections between Them Chapter 2: Figuration Chapter 3: The Linear Progression Chapter 4: The 5-6 succession Chapter 5: Structural Levels Chapter 6: The Introduction to Mozart's "Dissonance" Quartet Section 2 - Semper idem, sed non eodem modo Chapter 7: The Fundamental Structure (Ursatz) Chapter 8: Urlinie Descents from 3 Chapter 9: Urlinie Descents from 5 Section 3 - Techniques of Elaborating the Ursatz Chapter 10: Substitution Chapter 11: Delaying the Initial Tone of the Urlinie Chapter 12: Boundary Play and the Obligatory Register Chapter 13: Sequences Chapter 14: Non-Structural Harmonies Chapter 15: Implied Tones Chapter 16: Mixture Chapter 17: Relocating the Urlinie Chapter 18: The Phrygian 2 Chapter 19: The Auxiliary Cadence Chapter 20: Non-Tonic Expansions Section 4 - Tonal Structure and Musical Form Chapter 21: The Parallel Period (A A¿) Chapter 22: Variants of the Parallel Period Chapter 23: A B A Form Chapter 24: A B A' Form (with simple A) Chapter 25: A B A' Form (with compound A) Chapter 26: Sonata Form in the Major Mode Chapter 27: Sonata Form in the Minor Mode Epilogue
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