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Music Theory: The Essential Guide offers musicians of all ages and levels a practical and relevant guide to music theory today. Written and structured to make content as easily digestible as possible, this indispensable guide introduces key musical concepts such as pitch, tempo, rhythm, harmony, scales, instruments, musical forms, and structure. This guide also outlines the conventions governing music notation, demonstrating their relevance to the musical language of the twenty-first century, as well as provides interesting facts and real music examples to contextualize music theory. Lastly, Music Theory: The Essential Guide offers practical tips on how to identify intervals, make up melodies and rhythms, set words to music, and much more. Supports all aspects of the ABRSM Theory examinations (grades 1 to 5) and includes an introduction and theory in practice notes by renowned educationalist Paul Harris. This magnificent book contains quick-reference tools including an appendix, list of further repertoire examples, table of instruments, periods of music history, table of scales and modes, and summary keys and time signatures.
This edition shows readers how to develop songwriting skills and take their skills to the next level. It addresses the new face of the recording industry and its shift from traditional sales to downloads and mobile music, as well as covering the numerous social media networking sites.
Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. Supported by 1,500 music examples of published scores from Bach to Xenakis, this seminal and all-encompassing guide encourages new standards of excellence and accuracy.
This account of development in educational research is intended as a guide to possible research areas, both fundamental and policy-related, for students in colleges and higher education institutions, and should also be of interest to those engaged in curriculum planning and administration.
This is a thorough-going study of Monteverdi's Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi's compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources.
Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted.

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