Rowman & Littlefield Publishers
Pages: 786
•
Trim: 8 x 10¼
978-1-5381-2146-7 • Paperback • October 2020 • $105.00 • (£81.00)
Charles Horton is Associate Dean of the Desautels Faculty of Music at the University of Manitoba, where as Associate Professor of Music (now retired) he taught music theory, music history, counterpoint, analysis, chamber music and piano. He has appeared in concert in Canada, the United States and Europe in solo recitals, chamber music concerts and concerto performances; his teachers have included Alexandra Pierce, Marvin Blickenstaff, Jeanneane Dowis and Jerome Lowenthal. He is the founding music director (1997) of All The King's Men, Winnipeg's male-voice liturgical choir; the choir has undertaken six English cathedral tours, most recently for residencies at Worcester and Exeter Cathedrals. He is a founding member of the Society for Music Theory and a former co-editor of In Theory Only.
David A. Byrne is Assistant Professor of Music Theory in the Desautels Faculty of Music at the University of Manitoba, where he teaches music theory and orchestration. He earned a Ph.D. in music theory from the University of Cincinnati, with a dissertation on the harmonic theories of Sigfrid Karg-Elert. His research encompasses the history of theory in the early twentieth century, transformational models of chromatic harmony, and the analysis of symphonic form. His work is published in Music Research Forum, and he has presented at many conferences including the Society for Music Theory, the Society for Music Analysis, and the International Conference on Nineteenth-Century Music. In addition to his teaching and research in music theory, he is a clarinetist, conductor and arranger.
Lawrence Ritchey (1939 – 2006) was Associate Professor of Music in the Desautels Faculty of Music at the University of Manitoba and a Senior Fellow at St. John's College; he taught music theory, jazz history, organ, and harpsichord. He appeared in concert in Canada, the United States and Europe; his frequent performances included solo recitals, concerto performances, continuo playing and collaborations with singers in performances of American popular song and jazz. He teachers included Arthur Poister and Marcel Dupré. He served as chair of the editorial board of the interdisciplinary journal, Mosaic, and was organist and choirmaster of St. John's Anglican Cathedral in Winnipeg.
Part I – Fundamentals
1. Musical Sound and Its Notation
2. Scale and Intervals
3. Modes and Keys
4. Rhythm and Meter
Part II – Modality: Melody and Harmony
5. Melodic Design
6. Duple Paraphrase
7. Harmonic Framework
8. Chordal Succession
Part III – Vocal Melody and Counterpoint
9. Melodic Dialogue
10. Triple Paraphrase
11. Vocal Duet
Part IV – Diatonic Harmony and Tonicization
12. Tonic Confirmation
13. Suspensions and Syncopations
14. Tonicization
15. Elaborating the Lower Voices
16. The Chorale
Part V – Instrumental Melody and Counterpoint
17. Quadruple Paraphrase
18. Instrumental Duet
19. Elaborating the Soprano
20. Accompanied Melody
21. Diatonic Sequence
22. The Minuet
Part VI – Chromatic Harmony and Form
23. Primary Mixture
24. Intensifying the Dominant
25. Intensifying the Tonic
26. Formal Modulation
27. Chromatic Sequence
28. Secondary Mixture
29. The Romance
Part VII – Extensions of Chromatic Tonality
30. Enharmonics
31. Extended Voice-Leading Techniques
32. Twentieth Century Melody
Textbook Features
- Places equal importance on the study of melody, harmony, and their relation to one another. The authors develop techniques and strategies for exploring the fundamental interaction of melody and counterpoint with harmony.
- Includes over 1,400 musical examples from standard literature, film music, and popular song
- Gives stronger emphasis on two-part counterpoint exercises that include decoration of the given cantus firmus, elevating exercises to complete compositions
- Treats modality generously, beginning with early music and ending with early 20th-century musical practice
- Extends theory techniques and concepts into concrete practice useful to performers, arrangers, and educators through writing-based projects, including the creation of musical settings and larger compositional projects
- Includes a companion website hosting an online student workbook and audio recordings of sample settings
New to this edition
- Additional examples from standard literature, film music, and popular song
- New assignments involving late 19th-century chromatic practice
- Recorded performances of fully realized settings and models for assignments and the steps that lead to their completion
- An online student workbook with more robust selection of assignments than the first edition and over 200 more examples for study
- An instructor’s manual with suggested syllabi for three- and four-term sequences, guidelines for evaluation of assignments, additional repertoire for in-class analysis and assignments, and other useful information for teachers
FOR STUDENTS
Accompanying the text is an open-access
Companion Website designed to reinforce the main topics and help you master key vocabulary and concepts through flashcards and self-graded quizzes.
FOR PROFESSORS
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Instructor's Manual. For each chapter, this valuable resource provides a variety of tools such as lecture outlines, student learning objectives, discussion questions, and other resources to simplify classroom preparation.