Anthology of music for analysis
TITLE_DISPLAY:
Anthology of music for analysis
个人著者:
出版信息:
Upper Saddle River, N.J. : Pearson Prentice Hall, c2004.
格式:
图书
物理描述:
xii, 611 p. : music ; 28 cm.
附加著者:
ISBN:
9780130915443
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图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
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正在检索... Science | Musical Score / Sheet Music | SCORE 781.1 K86A | 1 | Fine Arts Collection | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
For core courses in undergraduate music theory, undergraduate and graduate music analysis courses, and courses in Twentieth-Century music. An anthology text for students of music with selections that are both high in quality and pedagogically valuable for classroom use. This anthology combines the benefits of an excerpt book with emphasis on whole pieces of music. Supplements include a CD set with recordings of many of the pieces, especially those that may not be easy to find in a typical music library, along with a comprehensive Instructor's Manual.
摘录
摘录
This anthology is intended for use in several kinds of undergraduate theory courses, including tonal harmony, formal analysis, and music of the 20th century. We have attempted to choose music that is both high in quality and pedagogically valuable for classroom use (although invariably there are times when the balance may be slightly tipped in one direction or the other). In addition, we have tried to incorporate within the anthology as much instrumental variety as possible. To be sure, keyboard music is the most represented medium, because such scores are relatively user-friendly for undergraduate theory students. But we also have made an effort to include a representative sampling of vocal and choral music, as well as repertoire for instruments that often are given minimal attention in a theory course (for instance, woodwinds and brass). The earliest work in the anthology is by Purcell, dating from the late 17th century. Our exclusion of earlier music is not meant to imply any negative value judgment but, rather, arises from pragmatic considerations. It is our impression that the core theory curriculum in most schools focuses on common-practice tonality. Although we realize that this is not true of all programs, on balance we decided that the omission of Medieval and Renaissance music would allow more room for music from the Baroque period up to the present. It is our hope that this decision will best serve the needs of most theory programs. This anthology includes CDs with recordings of many of the pieces, especially those that may not be easy to find in a typical music library. The student is strongly encouraged to listen to these recordings while analyzing the music. NOTE TO THE INSTRUCTOR We have intended the accompanying Instructor's Guide and Workbook to be an integral part of this anthology. Parts I and II of the manual are organized topically, with emphasis on harmony and form, respectively. Part I includes exercises that are keyed to specific passages from the works in the anthology. (These exercises may be photocopied as homework assignments.) In almost all cases, we have decided to base the harmony assignments on passages that are coherent in their own right--at least a phrase in length, and sometimes longer. The third part of the Instructor's Manual shifts from an emphasis on the topics of harmony and form toward a focus on the individual composition. Here we discuss each piece in the anthology from a more holistic perspective, paying special attention to the ways in which certain compositional features emerge as salient or interesting within that larger context. The Instructor's Guide and Workbook as a whole, then, is designed to make the anthology usable both from a "bottom-up" and "top-down" perspective. Our aim is to combine the benefits of an excerpt book (in which harmonic issues are illustrated in phrases lifted from larger pieces) and a more traditional anthology, with its natural emphasis on the whole piece. Excerpted from Anthology of Music for Analysis by Stefan Kostka, Roger Graybill All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.目录
Archangelo Corelli (1653-1713) |
Concerto Grosso, Op 6, No 8, Vivace-Grave, Allegro, Adagio-Allegro-Adagio, Vivace, Allegro, Largo |
Henry Purcell (1659-1695) |
"Sound the Trumpet" from Come, Ye Sons of Art |
Georg Philipp Telemann (1681-1767) |
Trio Sonata in E Minor, Movement II (Dolce) |
Johann Sebastian Bach (1685-1750) |
Suite No 1 for Solo Violoncello, Prelude, Sarabande, Gigue |
French Suite No 1, Menuet II |
French Suite No 5, Gavotte |
French Suite No 6, Polonaise |
Invention No 2 in C Minor |
Well Tempered Clavier, Book I, Fugue 6 in D Minor, Fugue 7 in Eb Flat Major, Fugue 16 in G Minor |
Well Tempered Clavier, Book II, Prelude 2 in C Minor, Fugue 2 in C Minor, Fugue 5 in D Major |
Chorale Prelude, "Non komm, der Heiden Heiland." |
Chorale Prelude, "Das alte Jahr vergangen ist." |
Partita on "Sei gegrüsset, Jesu gütig," |
Chorale, Variation 1, Variation 2, Variation 4, Variation 7 Chorale Harmonization #110, "Vater unser im Himmelreich," |
Chorale Harmonization #126, "Durch Adams Fall ist ganz verderbt," |
Chorale Harmonization #170, "Non komm, der Heiden Heiland." |
George Frideric Handel (1685-1759) |
Suite No 4 in E Minor, Courante |
Suite No 7, Passacaille |
Joseph Haydn (1732-1809) |
Piano Sonata No 35 in C Major, Movement III (Allegro) |
Piano Sonata No 41 in B Flat Major, Movement I (Allegro) |
"London" Trio No 1 in C Major, Hob IV, 1, Movement I (Allegro moderato) |
String Quartet, in C Major, Op 74, No 1, Movement III (Allegretto) |
Symphony No 100 in G Major, Movement I (Adagio-Allegro) |
The Creation, No 24, "And God Created Man," |
No 25, "In Native Worth." |
Anna Bon (1739-?) |
Divertimento in G Major, Op 3, No 1, I (Adagio) |
Wolfgang Amadeus Mozart (1756-1791) |
Piano Sonata in A Minor, K 310, Allegro maestoso, Andante cantabile con espressione, Presto |
Variations on "Unser dummer Pöbel meint," K 455 |
String Quartet in B Flat Major, K 458, Allegro vivace assai, Moderato, Adagio, Allegro assai |
Piano Concerto in B Flat Major, K 450, Movement I (Allegro) |
The Magic Flute, "Bei Mannern," |
"March of the Priests," |
"O Isis und Osiris." |
Don Giovanni, Recitative: "In quali eccessi, o Numi," |
Aria: "Mi tradi quell' alma ingrata." |
Ludwig von Beethoven (1770-1827) |
Piano Sonata in A Major, Op 2, No 2, Allegro vivace, Largo appassionato, Allegreto, Grazioso |
Piano Sonata in G Major, Op 14, No 2, Movement I (Allegro) |
Piano Sonata in G Major, Op 31, No 1, Movement III (Allegretto) |
Piano Sonata in D Minor, Op 31, No 2, Movement I (Largo-Allegro) |
Bagatelle, Op 119, No 1 Sonata in F Major for Horn and Piano, Op 17, Movement I (Allegro moderato) |
String Quartet in F Minor, Op 95, Movement I |
Franz Schubert (1797-1828) |
Erlkönig Winterreise, "Auf dem Flusse." Waltzes, Op 9a, No 1, No 2, No 3, No 4, No 5, No 6 |
Moments musicaux, Op 94, No 6 |
Impromptu in G Flat Major, Op 90, No 3 Mass in G, Kyrie, Sanctus |
Fanny Mendelssohn Hensel (1809-1847) |
"Gondellied," Op 1, No 6 |
Felix Mendelssohn (1809-1847) |
Song Without Words, Op 19, No 1 "Gondellied." |
Frédéric Chopin (1810-1849) |
Mazurka in A Minor, Op 7, No 2 |
Mazurka in B Flat Major, Op 17, No 1 |
Mazurka in B Minor, Op 30, No 2 |
Mazurka in C Major, Op 33, No 3 |
Preludes, Op 28, Prelude No 1 in C Major, Prelude No 4 in E Minor, Prelude No 7 in A Major, Prelude No 13 in F Sharp Major, Prelude No 17 in A Flat Major, Prelude No 24 in D Minor |
Grande Valse Brillante, Op 34, No 2 |
Nocturnes, Op 48, No 1 in C Minor, No 2 in F Sharp Minor |
Robert Schumann (1810-1856) |
Dichterliebe, Op 48, "Am leuchtenden Sommermorgen."; "Widmung."; Carnaval, Op 9, "Chiarina,"; "Aveu." |
Album for the Young, Op 68, No 2 |
"Soldatenmarsch,"; No 16 |
"Erster Verlust," No 28 |
"Erinnerung." |
Franz Liszt (1811-1886) |
Blume und Duft |
Nuages Gris |
Richard Wagner (1813-1883) |
Prelude to Lohengrin, Act I |
Clara Wieck Schumann (1819-1896) |
Romance, Op 11, No 2 |
Anton Bruckner (1824-1896) |
Mass in E Minor, "Kyrie." |
Johannes Brahms (1833-1897) |
Variations on a Theme by Robert Schumann, Op 9 |
Theme, Variation 2, Variation 10, Variation 14 Waltzes, Op 39, No 2 in E Major, No 12 in E Major |
Intermezzo, Op 19 No 2 in E Minor |
Sonata No 2 for Clarinet and Piano, Op 120, No 2, Movement I (Allegro amabile) |
"Liebestreu," Op 3, No 1 |
"Wenn du nur zuweilen lächelst," Op 57, No 2 |
Edvard Grieg (1843-1907) |
"Schmetterling," Op 43, No 1 |
"An der Wiege," Op 68, No 5 |
Hugo Wolf (1860-1903) |
"Anakreon's Grab." |
Gustav Mahler (1860-1911) |
"Wenn mein Schatz Hochzeit macht" from Lieder eines fahrenden Gesellen |
("When my Sweetheart has her Wedding" from Songs of a Wayfarer.) |
Richard Strauss (1864-1949) |
"Morgen," Op 27, No 4 |
Claude Debussy (1862-1918) |
Preludes, Book I, Des pas sur la neige, Les collines d'Anacapr I Preludes, Book II, Canope |
Arnold Schoenberg (1874-1951) |
Six Little Piano Pieces, Op 19, No 2, No 6 |
"Tot," No 2 from Drei Lieder, Op 48 |
Charles Ives (1874-1954) |
"The Things Our Fathers Loved." |
Maurice Ravel (1875-1937) |
"Menuet sur le nom d'Haydn." |
Béla Bartók (1881-1945) |
Three Pieces from Mikrokosmos, Pentatonic Melody (Vol 2, No 61), Tale (Vol 3, No 94) |
Dance in Bulgarian Rhythm (Vol 6, No 152) |
String Quartet No 5: Second Movement |
Igor Stravinsky (1882-1971) |
Petrushka, First Tableaux (excerpt) |
"Do not go gentle," from In Memoriam Dylan Thomas |
Anton Webern (1883-1945) |
Five Movements for String Quartet, Op 5, Movement III (Sehr bewegt) |
Concerto, Op 24, Movement II (Sehr langsam) |
Alban Berg (1885-1935) |
"Nun ich der Riesen Stärksten," No 3 from Vier Lieder, Op 2 |
Lili Boulanger (1893-1918) |
Ell était descendue au bas de la prairie," No 1 from Clairières dans le ciel |
Paul Hindemith (1895-1963) |
Trumpet Sonata, Movement I (Mit Kraft) |
William Grant Still (1895-1978) |
"Woven Silver" from Seven Traceries |
Francois Poulenc (1899-1963) |
Mouvement Perpetuel No 1 "Violon" from Fiançailles pour Rire |
Ruth Crawford Seeger (1901-1953) |
String Quartet, "1931," Movement III (Andante) |
Luigi Dallapiccola (1904-1975) |
"Linee" from Quaderno Musicale (1952) |
Dmitry Shostakovich (1906-1975) |
String Quartet No 3, Movement I (Allegretto) |
Olivier Messiaen (1908-1992) |
Quartet for the End of Time, Movement 7 (Réveur, presque lent) |
Benjamin Britten (1913-1973) |
Pastorale from Serenade for Tenor Solo, Horn, and Strings, Op 31 |
George Rochberg (1918-) |
String Quartet No 3, Movement I |
György Ligeti (1923-) |
Sonata for Solo Viola, Movement V (Tempo giusto, intenso e barbaro) |
1 George Crumb (1929-) |
"Voices from Corona Borealis," No 10 from Makrokosmos, Vol II |
Sofia Gubaidulina (1931-) |
Concerto for Bassoon and Low Strings, Movement IV |
Arvo Pärt (1935-) |
"O König aller Völker" from Magnificat Antiphons |
John Corigliano (1938-) |
Fantasia on an Ostinato |
John Tavener (1944-) |
"Lament of the Mother of God at the Cross," from The Protecting Veil |
Pearson Prentice Hall,
图书
Kostka, Stefan M.
Kostka, Stefan M.
Graybill, Roger Carper.
2004
9780130915443
Upper Saddle River, N.J. : Pearson Prentice Hall, c2004.
SD_ILS:933577
SCORE 781.1 K86A
Anthology of music for analysis
Anthology of music for analysis
Anthology of music for analysis
Anthology of music for analysis
Kostka, Stefan M.
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