The Complete Musician by Steven G. LaitzBeginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing andanalysis), skills (singing, playing, and dictation), and music-making outside the theory class.
Counterpoint by Kent KennanDesigned for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.
Call Number: MT55 .K46 1959
Publication Date: 1998-07-29
Elements of Music by Joseph StrausThe Fundamentals Text That Emphasizes Music Making. This music fundamentals textbook is for both aspiring music majors and non-majors. Based on an anthology of works from music literature, it features clear, concise explanations, extensive written exercises, and a variety of suggested in-class activities. It emphasizes process of making music--emphasizing, at every stage, that music is to be heard and made--not merely seen and learned in the abstract. All of the key topics are covered: music notation; rhythm; scales; intervals; triads; basic harmonic progressions.
Call Number: MT6.S77 E44 2012
Publication Date: 2011-06-29
Experimental Music by Michael Nyman; Robert Worby (Contribution by); Brian Eno (Foreword by)Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing which developed alongside, and partly in opposition to, the post-war modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed towards concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass.
International Encyclopedia of Women Composers by Aaron I. CohenThe International Encyclopedia of Women Composers was a labor of love. Cohen is the first and only person whose international curiosity and love of music led, without fanfare or publicity of any kind, to a crusade around the world to find all the women composers, living or dead, formerly known or unknown. He succeeded in locating some 6000 in over 70 countries. He amassed a collection of 7500 records, which included the world's largest collection of the recorded work of women composers. His research too eight years to produce the first edition and four more years to produce the second. The second edition has several unique features - making it even more valuable for researchers, performers, libraries and the media. Despite his not being allowed to enter countries "behind the iron curtain," Mr. Cohen located 643 women composers there, a listing which is the only one, even in the countries concerned. Another important piece of research was the discovery of the sequence of over nine centuries of Arabian women songstress-composers - all before the writing of music.
Call Number: REF 780.921 C678
Publication Date: 1987-01-01
The Muse That Sings: Composers Speak About the Creative Process by Ann McCutchanHow do today's serious concert composers write their music? This is a collection of recent interviews with 25 of America's important contemporary composers, all born between 1930 and 1960. Here, a wide range of representative artists--from Adams to Zorn, from Bolcom to Vierk--speak candidly about how they think in sound, shape musical ideas, and ultimately transfer sonic conceptions to the printed page.
Call Number: ML430 .M33 2003
Publication Date: 2003-09-25
Music in Theory and Practice by Bruce Benward; Marilyn SakerThis text gives majors a solid foundation in the theory of music - generally and throughout history. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike.
Call Number: MT6.B46 M87 2009 V.1
Publication Date: 2008-05-01
Musicophilia by Oliver SacksRevised and Expanded With the same trademark compassion and erudition he brought to The Man Who Mistook His Wife for a Hat, Oliver Sacks explores the place music occupies in the brain and how it affects the human condition. In Musicophilia, he shows us a variety of what he calls "musical misalignments." Among them: a man struck by lightning who suddenly desires to become a pianist at the age of forty-two; an entire group of children with Williams syndrome, who are hypermusical from birth; people with "amusia," to whom a symphony sounds like the clattering of pots and pans; and a man whose memory spans only seven seconds-for everything but music. Illuminating, inspiring, and utterly unforgettable, Musicophilia is Oliver Sacks' latest masterpiece.
Call Number: ML3830 .S23 2008
Publication Date: 2008-09-23
New Directions in Music by David CopeNew edition of a text that explores the history, philosophy, composers, and works of the avant-garde since the late 1940s, emphasizing works that depart radically from tradition. Cope (U. of California, Santa Cruz) provides in-depth analyses that cover historical background; general formal analysis as well as musical structure; orchestration techniques; basic techniques such as pitch organization, motivic structures, and rhythmic detail; significant vertical structures (chord roots and centers); significant horizontal melodic structures involving cadence, balance, and motion; and a summary of the stylistic parameters employed by the composer. Each chapter contains relevant interviews or articles, most of which originally appeared in The Composer Magazine. Illustrated with b&w photographs and excerpts from musical scores.
The Norton-Grove Dictionary of Woman Composers by Julie Anne Sadie; Rhian SamuelThe few in earlier times who gained some renown were as often as not the sisters, daughters, wives, or muses of well-known men—the surnames of Fanny Mendelssohn and Clara Schumann speak for themselves. Even with the present-day increase in their number, women composers have largely failed to draw the attention of the public. In recognition of these nearly invisible yet greatly talented musicians, Julie Anne Sadie and Rhian Samuel have brought together an international corps of experts to produce The Norton/Grove Dictionary of Women Composers. This definitive source provides detailed biographies of more than 1,000 creators of Western classical music. In signed articles, the Dictionary chronicles the lives and works of women composers from all corners of the world. Here you can read about the Medieval mystic Hildgard von Bingen, the Renaissance madrigalist Maddalena Casulana, the flamboyant seventeenth-century vocal composer Barbara Strozzi, the prolific New Englander Amy Beach, and the Pulitzer Prize winner Ellen Taaffe Zwilich.
Call Number: REF 780.82 N884
Publication Date: 1995-09-17
The Rest Is Noise by Alex RossThe scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky's "Rite of Spring "onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for "The New Yorker," shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life."" "The Rest Is Noise "takes the reader inside the labyrinth of modern sound. It tells of maverick personalities who have resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with the purest beauty or battered them with the purest noise, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. In the tradition of Simon Schama's "The Embarrassment of Riches "and Louis Menand's "The Metaphysical Club," the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.
Call Number: ML197 .R67 2007
Publication Date: 2007-10-16
Serial Composition by Reginald Smith BrindleThis introductory text for students covers all the most important aspects of serial composition, including full discussion of such topics as melody writing, twelve-note harmony, polyphonic writing, forms, stylistic factors, avant-garde techniques, and free twelve-note composition. The author's intention is to avoid a pedantic exposition of serial principles and to include many technical details which are also valid in non serial contexts, being the common property of contemporary musical languages. Richard Smith Brindle (born 1917) is a native of Lancashire. He studied at the University College of North Wales, Bangor, in Rome at the Academia di Santa Cecilia, and in Florence privately with Dallapiccola. His own music is influenced by he Italian avant-garde school of berio, Maderna, non, and others. From 1970 until his retirement in 1985 he was Professor of Music at the University of Surrey.
Soundings by Glenn WatkinsPreface. PART 1: VIENNA: 1885-1915. 1. The German Romantic Legacy. 2. Schoenberg to 1909: Extending Traditions. 3. Webern: Opus 1 to Opus 12. 4. Alban Berg Before Wozzeck. PART TWO: PARIS: 1885-1915. 5. Debussy: Impressionism and Symbolism. 6. Maurice Ravel to the Mallarme Songs (1913). 7. Exoticism: Importations from Abroad. 8. Symbolist Reverberations Abroad (I): Decadent Symbolism. 9. Symbolist Reverberations Abroad (II): Synesthetic Symbolism. PART THREE: EMEBLEMS OF CRISIS: 1909-1914. 10. Expressionism: The Path to Pierrot. 11. Primitivism: The Road to the Rite. 12. Futurism: Manifestos and Machines. 13. The New Simplicities: France. 14. The New Simplicities: Germany. 15. Toward Neoclassicism. 16. Zemlinsky's Lyric Symphony: Against the Tide. 17. Berg: Wozzeck and the Violin Concerto. 18. Weberns Path to the New Music. PART FIVE: EMERGING NATIONAL ASPIRATIONS: 1910-1945. 19. Hungary: Bela Bartok. 20. Russians Abroad and At Home. 21. The Twentieth-Century Spanish and English Renaissance. 22. An "American" Music for America. PART SIX: BEYOND NATIONALISM: 1920-1950. 23. Rituals, Liturgies, and Voices of War. PART SEVEN: POSTWAR SERIALISM AND THE RISE OF AN INTERNATIONAL AVANT-GARDE. 24. Europe: In Search of a Common Practice. 25. The United States of America. 26. Serialism and the European Old Guard. 27. The International Avant-Garde: Choice and Chance.PART EIGHT: THE QUEST FOR NEW SOUNDS. 28. Electronics and Explorations of Duration, Timbre, and Space. 29. The New Virtuosity. PART NINE: PAST IMPERFECT-FUTURE SUBJUNCTIVE. 30. Users of the Past: A Synthesis. 31. Users of the Past: The Generic Revivals. 32. Envoi.Notes. Index.
Call Number: ML197 .W38 1987
Publication Date: 1995-10-26
Source Readings in Music History by Leo Treitler; W. Oliver StrunkForty-five years after the appearance of the first edition, Oliver Strunk's monumental anthology of writings about music has been thoroughly revised and extended by a team of scholars working under the direction of musicologist Leo Treitler. For this new edition, seven specialists in music history have replaced some selections, added others, contributed new translations, and provided additional notes and introductions. An entire new section, covering the twentieth century, significantly enlarges the book's scope. Readers can now acquire a comprehensive picture of Western musical thought and ideas through the ages.
Call Number: ML160 .S68 1998
Publication Date: 1998-04-17
Study of Counterpoint by Johann Joseph Fux; Alfred Mann (Editor, Translator)The most celebrated book on counterpoint is Fux's great theoretical work ?Gradus ad Parnassum.' Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J.S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference. An impressive list of nineteenth-century composers subscribed to its second edition, and in more recent times Paul Hindemith said, "Perhaps the craft of composition would really have fallen into decline if Fux's ?Gradus? had not set up a standard." Originally written in Latin, ?Steps to Parnassus? was translated into the principal European languages, but the only English version was a free paraphrase published in 1886. The present translation by Alfred Mann is therefore the first faithful rendering in English from the original Latin and presents the essence of Fux's teachings. For its distinction as a classic and its undiminished usefulness for the modern student it is a privilege to offer this fine translation in the Norton Library.
Call Number: MT55 .F89 1965
Publication Date: 1965-06-17
The Study of Fugue by Alfred MannFeatures a historical survey of writings on the fugue from the Renaissance to the present as well as 4 18th-century studies: works by J. J. Fux, W. F. Marpurg, more. Includes introductions, commentary, and 255 musical examples.
Call Number: MT59 .M36 1958
Publication Date: 1966-02-01
The Study of Orchestration by Samuel AdlerThrough two highly successful editions, The Study of Orchestration has set the standard for orchestration texts, providing the most comprehensive treatment of both orchestration and instrumentation. The Third Edition retains the elements that have made the book a classic while embracing new technology and responding to the needs of today's students and teachers.
Techniques of 20th Century Composition by Leon DallinThe approach of "Techniques of Twentieth Century Music is appropriate for composers exploring contemporary idioms, for performers learning to cope with the innovations of modern music, and for teachers developing their understanding and appreciation of the music of our time. All three categories are served by this text. It is designed to provide essential knowledge of the techniques and materials of twentieth-century music and to bridge the gulf between traditional academic training and current practice.
Call Number: MT40 .D35 1974
Publication Date: 1974-01-01
Techniques of the Contemporary Composer by David Cope; Jerry Lee FordThis text is a practical guide to the compositional techniques, resources, and technologies available to composers today. Each chapter traces the development of traditional and modern elements that form the foundation of music in the late twentieth century. Among the subjects discussed are interval exploration, serialism, pitch-class sets, twelve-tone music, electronic music, algorithmic composition, and indeterminacy.
Call Number: MT40 .C67 1997
Publication Date: 1997-08-07
Tonality and Transformation by Steven RingsTonality and Transformation is a groundbreaking study in the analysis of tonal music. Focusing on the listener's experience, author Steven Rings employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, Rings introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Rings also engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, Tonality and Transformation balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, Tonality and Transformation is an indispensible work of music theory.
Call Number: MT6.R56 T66 2011
Publication Date: 2011-06-10
Twentieth-Century Music Theory and Practice by Edward PearsallTwentieth-Century Music Theory and Practice introduces a number of tools for analyzing a wide range of twentieth-century musical styles and genres. It includes discussions of harmony, scales, rhythm, contour, post-tonal music, set theory, the twelve-tone method, and modernism. Recent developments involving atonal voice leading, K-nets, nonlinearity, and neo-Reimannian transformations are also engaged. While many of the theoretical tools for analyzing twentieth century music have been devised to analyze atonal music, they may also provide insight into a much broader array of styles. This text capitalizes on this idea by using the theoretical devices associated with atonality to explore music inclusive of a large number of schools and contains examples by such stylistically diverse composers as Paul Hindemith, George Crumb, Ellen Taffe Zwilich, Steve Reich, Michael Torke, Philip Glass, Alexander Scriabin, Ernest Bloch, Igor Stravinsky, Béla Bartók, Sergei Prokofiev, Arnold Schoenberg, Claude Debussy, György Ligeti, and Leonard Bernstein. This textbook also provides a number of analytical, compositional, and written exercises. The aural skills supplement and online aural skills trainer on the companion website allow students to use theoretical concepts as the foundation for analytical listening.
Call Number: MT90.P43 T84 2012
Publication Date: 2011-12-20
Twentieth Century Music by Eric SalzmanOffering complete, accurate coverage in a tightly condensed, simple format, this comprehensive exploration of modern music (to 1998) deals primarily with the music itself and musical ideas. It puts the whole century in a unified concept, helping readers make sense out of the heterogeneity. It explains the overall development of 20th century music in relation to the past and to two big cycles of contemporary music; and encompasses classical and experimental traditions as well as popular elements, media, multi-media, and theater. Twentieth-Century Music and the Past. THE BREAKDOWN OF TRADITIONAL TONALITY. The Sources. The Revolution: Paris and Vienna. THE NEW TONALITIES. Stravinsky and Neo-Classicism. Neo-Classicism and Neo-Tonality in France and Outside of France. National Styles. Musical Theater. ATONALITY AND TWELVE-TONE MUSIC. The Viennese School. The Diffusion of Twelve-Tone Music. THE AVANT GARDE. Before World War II. Technological Culture and Electronic Music. Ultra-Rationality and Serialism. Anti-Rationality and Aleatory. The New Performed Music: The United States. Post-Serialism: The New Performance Practice in Europe. POST-MODERNISM. Beyond Modern Music. Back to Tonality. Pop as Culture. Media and Theater. Music Examples. For courses anyone interested in 20th Century Music, Modern Music, or the History of Music.
Call Number: ML197 .S25 2002
Publication Date: 2001-09-25
What to Listen for in Music by Aaron Copland; Alan Rich (Foreword by, Epilogue by)Preliminaries -- How we listen -- The creative process in music -- The four elements of music : Rhythm -- Melody -- Harmony -- Tone color -- Musical texture -- Musical structure -- Fundamental forms : Sectional form -- Variation form -- Fugal form -- Sonata form -- Free forms -- Opera and music drama -- Contemporary music -- Film music -- From composer to interpreter to listener.
Call Number: MT6.C67 W43 1999
Publication Date: 2002-11-05
Women and Music in America since 1900 by Kristine H. Burns (Editor)The 20th century heard a rich sound coming from America: women making music. Other works may be strictly biographical or cover only one type of musician. This two volume, A-to-Z encyclopedia represents the first major effort to describe the role of women in all forms of music in the U.S. since 1900. Entries cover such material as, important individuals, biographical overviews, gender issues, education, music genres, honors and awards, organizations, and professions. The significance of an individual's contribution, rather than their popularity, determined who was featured in this collection. Included individuals must also have been born in, been a resident of, or made most of her contributions in the U.S. Each entry concludes with a short list of further readings. Photos accompany nearly 100 entries. A preface, an introductory historical overview, a chronology, a guide to related topics, a list of contributors, a general bibliography, and an index help to present the full spectrum of American women who changed the face of music in the 1900s.