(eBook PDF) The Complete Musician: An Integrated Approach to Theory, Analysis, and Listening 4th Edition – Digital Ebook – Instant Delivery Download

Product details:

• ISBN-10 ‏ : ‎ 0199347093
• ISBN-13 ‏ : ‎ 978-0199347094
• Author: Steven G. Laitz

Beginning with music fundamentals, The Complete Musician covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. Rather than rote learning of concepts and memorizing terms, The Complete Musician emphasizes how theory informs the work of performers. Composers respond not only to their instincts, experiences, and training in every work they write; they also follow certain ideals and models when appropriate, and modify them to fit their own personal vision. Theory is not a “theoretical” activity; it is a living one that responds to how music is composed and performed. Understanding how theory intersects with composition and performance is key to seeing its relevance to students’ wider musical lives. The Complete Musician makes this connection.
Table contents:

PART 1 THE FOUNDATIONS OF TONAL MUSIC

CHAPTER 1: Musical Space

CHAPTER 2 Harnessing Space and Time: Introduction to Melody and T

CHAPTER 3 Musical Density: Triads, Seventh Chords, and Texture

PART 2 MERGING MELODY AND HARMONY

CHAPTER 4 When Harmony, Melody, and Rhythm Converge

CHAPTER 5 Tonic and Dominant as Tonal Pillars and Introduction to Voice

CHAPTER 6 The Impact of Melody, Rhythm, and Meter on Harmony; Introduction

CHAPTER 7 Contrapuntal Expansions of Tonic and Dominant: Six-

CHAPTER 8 More Contrapuntal Expansions: Inversions of VTonic Expansion

PART 3 A NEW HARMONIC FUNCTION, THE PHRASE MODEL, AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS

CHAPTER 9 The Pre-Dominant Function and the Phrase Model

CHAPTER 10 Accented and Chromatic Embellishing Tones

CHAPTER 11 Six-Four Chords, Revisiting the Subdominant, and Summary

CHAPTER 12 The Pre-Dominant Refines the Phrase Model

PART 4 NEW CHORDS AND NEW FORMS

CHAPTER 13 The Submediant: A New Diatonic Harmony, and Further

CHAPTER 14 The Mediant, the Back-Relating Dominant, and a Synthesis of Diatoni

CHAPTER 15 The Period

CHAPTER 16 Other Small Musical Structures: Sentences, Double Periods, and Modified Periods

CHAPTER 17 Harmonic Sequences

PART 5 FUNCTIONAL CHROMATICISM

CHAPTER 18 Applied Chords

CHAPTER 19 Tonicization and Modulation

CHAPTER 20 Binary Form and Variations

PART 6 EXPRESSIVE CHROMATICISM

CHAPTER 21 Modal Mixture

CHAPTER 22 Expansion of Modal Mixture Harmonies: Chromatic Modulation and the G

CHAPTER 23 The Neapolitan Chord (bII)

CHAPTER 24 The Augmented Sixth Chord

PART 7 LARGE FORMS: TERNARY, RONDO, SONATA

CHAPTER 25 Ternary Form

CHAPTER 27 Sonata Form

PART 8 INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY

CHAPTER 28 New Harmonic Tendencies

CHAPTER 29 Melodic and Harmonic Symmetry Combine: Chromatic Sequence

PART 9 TWENTIETH-AND TWENTY-FIRST-CENTURY MUSIC

CHAPTER 30 Vestiges of Common Practice and the Rise of a New Source

CHAPTER 31 Noncentric Music: Atonal Concepts and Analytical Methodology

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