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Music in Theory and Practice, Volume 2

This is the best-selling text that gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
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Table of Contents

Preface Part A: The Renaissance And Baroque Periods Chp. 1: Late Renaissance Polyphony Chp. 2: Two-Voice Eighteenth Century Counterpoint Chp. 3: The Fugue Part B: Chromatic Harmony Chp. 4: Borrowed Chords Chp. 5: Neapolitan 6th Chords Chp. 6: Augmented 6th Chords Part C: The Classical Period (1750-1825 Chp. 7: Variation Technique Chp. 8: Sonata Form Chp. 9: Rondo Forms Part D: Extended And Chromatic Harmony Chp. 10: 9th,11th, and 13th Chords Chp. 11: Altered Dominants Chp. 12: Chromatic Mediants Part E: The Nineteenth And Twentieth Centuries Chp. 13: The Romantic Period (1825-1900) Chp. 14: The Post-Romantic Style Chp. 15: Impressionism and Related Styles Chp. 16: The Early Twentieth Century Chp. 17: Pitch-Class Set Theory Chp. 18: Twelve-Tone Technique Postlude: Music Since 1945 Appendixes Glossary Credits Index

About the Author

Bruce Benward has been widely regarded as one of the most gifted music theory pedagogues since his textbooks first appeared in the 1960s, and has exerted a wide influence on the teaching of music theory both through his writings and through the generation of teachers that he taught. He recently retired from the University of Wisconsin at Madison.

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