Introduction to Post-Tonal Theory (2nd Edition)

Straus, Joseph N.

ISBN 10: 0130143316 / ISBN 13: 9780130143310

Edité par Pearson College Div, 1999

A propos de cet article

Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included.

N° de réf. du vendeur 3IIZWD0003CL_ns

Détails bibliographiques

• Titre: Introduction to Post-Tonal Theory (2nd Edition)
• Éditeur: Pearson College Div
• Date de parution: 1999
• Langue: anglais
• ISBN à 10 chiffres: 0130143316
• ISBN à 13 chiffres: 9780130143310
• Reliure: Couverture rigide
• Édition: 2ème Édition
• État de l'article: acceptable

A propos de ce titre

Synopsis

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. Emphasizing hands-on contact with the music―through playing, singing, listening, and analyzing―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.

Quatrième de couverture

Designed for a course in twenty-first-century techniques and analysis, this text offers a clear, comprehensive introduction to the basic concepts of post-tonal theory. Each concept is clearly explained and richly illustrated with examples from the musical literature. The text contains model analyses as well as carefully graduated exercises that involve playing, singing, composing, and analyzing.

The third edition stays abreast of recent theoretical developments by including discussions of transformational networks and graphs, contour theory, atonal voice leading, triadic post-tonality (including neotonality), inversional symmetry, and interval cycles. As a result, this text is not only a primer of basic concepts but also an introduction to the current state of post-tonal theory, with its rich array of theoretical concepts and analytical tools.

The third edition also features a wide range of composers and musical styles. Although the "classical" prewar repertoire of music by Schoenberg, Stravinsky, Bartok, Webern, and Berg still comprises the musical core, theoretical concepts are now also illustrated with music by Adams, Babbitt, Berio, Boulez, Britten, Cage, Carter, Cowell, Crawford, Crumb, Debussy, Feldman, Glass, Gubaidulina, Ives, Ligeti, Messiaen, Musgrave, Reich, Ruggles, Sessions, Shostakovich, Stockhausen, Varese, Wolpe, Wuorinen, and Zwillich.