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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 extremely practical introduction to musical analysis explores the factors that give unity and coherence to musical masterpieces. Having first identified and explained the most important analytical methods, Nicholas Cook examines given compositions from the last two hundred years to show how different analytical procedures suit different types of music.
"As a composer one forgets, in time, the fine detail of composition processes which produced past work... it must be left to scholars to recreate, slowly and painstakingly, earlier creative processes." Peter Maxwell Davies. In the eight essays presented here, leading scholars of the music of Peter Maxwell Davies explore some of the composer's creative processes. David Roberts, Peter Owens and Richard McGregor examine Davies's employment of pitch-class sets and other models evident in his sketch material, while Joel Lester looks at the serial elements that produce structure and effect in the work Ave Maris Stella. The political, literary and musical influences evident in the 1987 opera Resurrection and in subsequent orchestral works come under scrutiny from John Warnaby. Davies's use of older dramatic forms and ritual is the focus of Michael Burden's examination of his music theatre. The composer's own descriptions of his compositional process contain distinctly modernist overtones as Arnold Whittall suggests in the concluding essay in the volume. The sustained textural multiplicity evident in much of Davies's music points to this modernism. It is a multiplicity mirrored in the variety of approaches taken by the commentators in this volume. The differing points of view on offer complement and contrast each other, allowing the reader to appreciate the different levels on which Davies's music works.
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.
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).
Music Theory from Boethius to Zarlino is a companion volume to Music Theory from Zarlino to Schenker: A Bibliography and Guide by David Damschroder and David Russell Williams (Harmonologia, No. 4, Pendragon Press). Like the previous work, the goal of the volume is to create a logically organized introduction to the major theorists of the time and a thorough review of the scholarly work about these writers. While specialists in the history of music theory may find new materials in these pages, this work is primarily designed for the non-specialist as a practical and basic introduction to the treatises, people, and scholarship of Medieval and Renaissance theory. The two major sections of the work are the Dictionary of Theorists which includes individual chapters for approximately one hundred and twenty authors, arranged alphabetically and the Literature Supplement which lists articles, books and dissertations which pertain to several Dictionary of Theorists authors and which, therefore, would be inappropriately placed in any one of those chapters. The work begins with a listing of Abbreviations listing short entries used throughout the book for periodicals, series, congress reports, and Festschriften. The work concludes with Indices referencing names, titles, topics, and an approximate chronology of the works cited.

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