Atjaunināt sīkdatņu piekrišanu

Music Theory through Musical Theatre: Putting It Together [Hardback]

(Professor Emeritus of Music, Pennsylvania State University, Sarasota, FL)
  • Formāts: Hardback, 466 pages, height x width x depth: 224x284x33 mm, weight: 1341 g, 534 music examples
  • Izdošanas datums: 20-Aug-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0199999546
  • ISBN-13: 9780199999545
Citas grāmatas par šo tēmu:
  • Hardback
  • Cena: 168,51 €
  • Grāmatu piegādes laiks ir 3-4 nedēļas, ja grāmata ir uz vietas izdevniecības noliktavā. Ja izdevējam nepieciešams publicēt jaunu tirāžu, grāmatas piegāde var aizkavēties.
  • Daudzums:
  • Ielikt grozā
  • Piegādes laiks - 4-6 nedēļas
  • Pievienot vēlmju sarakstam
  • Formāts: Hardback, 466 pages, height x width x depth: 224x284x33 mm, weight: 1341 g, 534 music examples
  • Izdošanas datums: 20-Aug-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0199999546
  • ISBN-13: 9780199999545
Citas grāmatas par šo tēmu:
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text,Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes.

The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises,Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
About the Companion Website ix
Introduction 1(8)
For Teachers
1(5)
For Students
6(3)
PART ONE THE LEAD SHEET
9(90)
1 Basic Concepts for Reading, Writing, and Appreciating Music
11(28)
Pitch, Staff, Clef, and Ledger Lines
12(2)
Recognizing Pitches on the Piano Keyboard
14(1)
Accidentals: Sharps, Flats, and Naturals
15(2)
Double Sharps and Double Flats
17(1)
Notes and Rhythm
17(2)
Augmentation and Diminution
19(1)
Dots and Ties
19(1)
Rests
20(1)
Meter and Time Signature
21(1)
Simple Time Signatures
22(1)
Other Simple Time Signatures
23(2)
Compound Time Signatures
25(2)
Infrequently Used Time Signatures
27(1)
Tuplets
28(1)
Beaming
29(1)
Syncopation
29(6)
Musical Terms and Symbols
35(1)
Pickup Measures
35(1)
Repeat Signs
36(1)
Tempo Marks
36(1)
Articulations
37(1)
Dynamics
37(1)
Expression Marks
37(2)
2 Major and Minor Scales
39(23)
Major Scales
39(1)
Key Signatures
40(1)
Identifying Major Scales
41(2)
Sight-Singing
43(3)
Minor Scales
46(1)
Writing Minor Scales
47(1)
Identifying Minor Scales
48(1)
Names of Scale Degrees
49(1)
The Circle of Fifths
50(1)
The Harmonic Minor Scale
51(1)
The Melodic Minor Scale
52(1)
Singing Minor Scales
53(1)
The Major-Minor Scale (Mode Mixture)
54(1)
Modal Shifts
55(1)
Performing Major and Minor Scales
56(6)
3 Modes and Other Scales
62(13)
Modes
62(1)
"Minor" Modes
62(2)
Writing and Singing the "Minor" Modes
64(1)
The Locrian Mode
65(1)
"Major" Modes
66(1)
Writing and Singing the "Major" Modes
67(4)
Other Scales: Pentatonic, Whole-Tone, and Chromatic
71(4)
4 Intervals
75(24)
Perfect Intervals
75(3)
Identifying the Qualitative Nature of Intervals
78(1)
Major Intervals
79(3)
Minor Intervals
82(3)
Diminished Intervals
85(1)
Augmented Intervals
86(1)
The Tritone
87(2)
Harmonic Intervals
89(1)
Inversions of Intervals
90(1)
Compound Intervals
91(1)
Consonance and Dissonance
92(1)
Review Quiz
93(3)
Unit Test 1
96(3)
PART TWO THE ARRANGEMENT
99(262)
5 Triads, Seventh Chords, and Nonharmonic Tones
101(35)
Harmony with Chords
102(2)
Chord Tones
104(1)
Inversions of Chords
105(5)
Singing Chords
110(2)
Seventh Chords
112(3)
Seventh Chord Inversions
115(1)
Singing Seventh Chords
115(6)
Nonchord Tones
121(1)
Neighbor Tones
121(1)
Passing Tones
122(1)
Suspensions and Retardations
123(1)
The Appoggiatura
124(1)
Escape Tones
125(1)
The Anticipation
126(1)
Changing Tones
127(1)
Pedal Tones
127(2)
Free Tones
129(7)
6 Chord Progressions and Sixth Chords
136(29)
Numbering Chords in Major Scales with Roman Numerals
136(1)
Numbering Chords in Minor Scales with Roman Numerals
136(2)
Numbering Diatonic Seventh Chords with Roman Numerals
138(2)
Diatonic Chord Accompaniments
140(2)
Alternating Bass
142(2)
Chord Functionality
144(5)
Harmonic Movement
149(1)
Sight-Reading and Transposition
150(2)
Major and Minor Sixth Chords
152(4)
Review Quiz
156(5)
Unit Test 2
161(4)
7 Singing Counterpoint 1
165(22)
Counterpoint and Polyphony
166(1)
Species Counterpoint
166(1)
First Species Counterpoint
166(2)
Dramatic Use of First Species Counterpoint
168(6)
Second Species Counterpoint
174(2)
Dramatic Use of Second Species Counterpoint
176(11)
8 Singing Counterpoint 2
187(47)
Third Species Counterpoint
187(3)
Dramatic Use of Third Species Counterpoint
190(5)
Fourth Species Counterpoint
195(2)
Dramatic Use of Fourth Species Counterpoint
197(2)
Fifth Species Counterpoint
199(4)
Dramatic Use of Fifth Species Counterpoint
203(5)
Fugue
208(6)
Review Quiz
214(10)
Unit Test 3
224(10)
9 Chromatically Altered Chords
234(24)
Secondary Dominants
235(6)
Secondary Functions of the Leading Tone Chord
241(3)
Common Tone Diminished Chords
244(1)
Passing Diminished Chords
245(3)
Neapolitan and Augmented Sixth Chords
248(4)
Mode Mixture
252(6)
10 Song Form and Cadences
258(27)
Periods, Phrases, and Cadences
259(1)
The Authentic Cadence
260(3)
The Half Cadence
263(2)
The Plagal Cadence
265(2)
The Deceptive Cadence
267(9)
"Backdoor" Cadences
276(9)
11 Modulation and Tonicization
285(28)
Modulation and Tonicization
285(1)
Direct Modulation
286(1)
Secondary Dominant Modulation
287(1)
Third Relation Modulation
287(2)
Pivot Tone (Common Tone) Modulation
289(2)
Common Chord Modulation
291(1)
Diminished Seventh Chord Modulation
292(2)
Augmented Sixth Chord Modulation
294(6)
Tonicization
300(13)
12 Upper-Embellished Chords
313(48)
Ninth, Eleventh, and Thirteenth Chords
313(3)
Dramatic Use of Upper-Embellished Chords
316(3)
"Sus" and "Add" Chords
319(1)
Dramatic Use of "Sus" and "Add" Chords
319(6)
Tone Groups
325(1)
Vertical (Harmonic) Tone Groups
325(2)
Horizontal (Melodic) Tone Groups
327(17)
Review Quiz
344(7)
Unit Test 4
351(10)
PART THREE THE PERFORMANCE
361(58)
13 Analysis---George Gershwin and Richard Rodgers
363(13)
Music as Drama in Musical Theatre
363(1)
"Meadow Serenade"
364(4)
"Soon"
368(3)
"A Puzzlement"
371(5)
14 Analysis---Leonard Bernstein and Stephen Sondheim
376(24)
"What a Waste"
377(6)
"I Love My Wife"
383(3)
"Take Care of This House"
386(5)
"With So Little to Be Sure Of"
391(9)
15 Analysis---Andrew Lloyd Webber, William Finn, and Jason Robert Brown
400(19)
"The Beauty Underneath"
400(4)
"The Baseball Game"
404(10)
"It's Hard to Speak My Heart"
414(5)
Acknowledgments 419(6)
Alphabetical List of Musical Theatre Examples 425(6)
Bibliography 431(8)
Index 439
John Franceschina began composing and arranging music at the age of five and has written symphonies, chamber music, incidental music, and film scores. He has acted as musical director for productions in New York City and on national and international tours and the stage director of operas, musicals, and plays. As a pianist/arranger, he has accompanied Angela Lansbury, Elke Sommer, Nell Carter, Jan Peerce, Robert Merrill, Lotte Lenya, Paige O'Hara, Chita Rivera, and Gwen Verdon. An educator with thirty years of college teaching experience, he has written fifteen books about the theatre and musical theatre.