Graphic Music Analysis
Rowman & Littlefield (Verlag)
978-1-5381-0466-8 (ISBN)
Graphic Music Analysis presents Schenkerian analysis in a practical and engaging manner that will resonate with musicology, theory, and composition students, as well as performing musicians. With over 650 musical examples, Eric Wen guides students through the step-by-step process of creating graphic representations of music and reveals how Schenkerian ideas evolve out of analytical issues in the works encountered. Rather than promoting an analytic method for its own sake, Wen derives structural techniques from their particular musical situations to help students engage directly with the music.
The textbook has an online companion website (textbooks.rowman.com/wen) featuring:
oFull scores and recordings of the works discussed in the book
oDownloadable workbook of additional pieces to analyze
oDetailed commentary on Schenker’s own analysis of J. S. Bach’s Prelude in C from Book 1 of The Well-Tempered Clavier
An instructor’s manual with a step-by-step guide to analyzing the supplementary workbook examples is also available. Please email textbooks@rowman.com for more information.
Eric Wen is recognized as one of today’s preeminent experts in Schenkerian analysis. He has published numerous academic articles, and presented papers at many universities and conferences, including all five International Schenker Symposiums. A member of the faculty at The Curtis Institute of Music in Philadelphia since 1999, Wen has also taught in the doctoral program at The Graduate Center (CUNY), as well as at the Juilliard School and Mannes College of Music in New York. Before then he taught at the University of London, as well as the Guildhall School and Royal Academy of Music in London, where he also served as editor of The Strad magazine and The Musical Times.
Section 1 – Graphic Music Analysis
Chapter 1: Highlighting Notes and Making Connections between Them
Chapter 2: Figuration
Chapter 3: The Linear Progression
Chapter 4: The 5–6 succession
Chapter 5: Structural Levels
Chapter 6: The Introduction to Mozart’s “Dissonance” Quartet
Section 2 – Semper idem, sed non eodem modo
Chapter 7: The Fundamental Structure (Ursatz)
Chapter 8: Urlinie Descents from 3
Chapter 9: Urlinie Descents from 5
Section 3 – Techniques of Elaborating the Ursatz
Chapter 10: Substitution
Chapter 11: Delaying the Initial Tone of the Urlinie
Chapter 12: Boundary Play and the Obligatory Register
Chapter 13: Sequences
Chapter 14: Non-Structural Harmonies
Chapter 15: Implied Tones
Chapter 16: Mixture
Chapter 17: Relocating the Urlinie
Chapter 18: The Phrygian 2
Chapter 19: The Auxiliary Cadence
Chapter 20: Non-Tonic Expansions
Section 4 – Tonal Structure and Musical Form
Chapter 21: The Parallel Period (A A´)
Chapter 22: Variants of the Parallel Period
Chapter 23: A B A Form
Chapter 24: A B A' Form (with simple A)
Chapter 25: A B A' Form (with compound A)
Chapter 26: Sonata Form in the Major Mode
Chapter 27: Sonata Form in the Minor Mode
Epilogue
| Erscheinungsdatum | 09.03.2019 |
|---|---|
| Verlagsort | Lanham, MD |
| Sprache | englisch |
| Maße | 216 x 281 mm |
| Gewicht | 1025 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre |
| ISBN-10 | 1-5381-0466-0 / 1538104660 |
| ISBN-13 | 978-1-5381-0466-8 / 9781538104668 |
| Zustand | Neuware |
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