Form in Tonal Music: An Introduction to Analysis

Features

• Cover Type: Hard Cover with 336 pages
• Published by: Schirmer
• Edition: 2nd Edition April 18, 1979
• Written in: English
• ISBN 10 Number: 0030202868
• ISBN 13 Number: 978-0030202865
• Book Dimensions: 9.4 x 7.5 x 0.7 inches
• Weighs: 1.5 pounds

Product Review
"Unlike other texts, your book makes clear in few words what creating music involves--step-by-step with clear illustrations. The numbered steps with simple illustrations cannot be found in any other text."

"Your text can be used for all levels of theory and composition, including Twentieth Century Techniques, and thus represents a significant monetary savings for the student."

Book Description
Like many texts on musical analysis, FORMS IN TONAL MUSIC equips students to critically examine a wide range of compositions and forms. However, Green's text takes students a step further by enabling them to approach musical works unencumbered by preconceived notions of what characteristics the text should or should not have. Providing specific help on every aspect of musical analysis, this text uses many of the compositions found in Charles Burkhart's ANTHOLOGY FOR MUSICAL ANALYSIS, but it allows students the freedom to explore works that they already own.

Reader Reviews
This book is jam-packed with facts. I have just two major criticisms: --The explanations on binary forms is unnecessarily difficult to understand. Just in case you're wondering, a binary form is closed, or sectional, if the first half ends on the tonic. It is open, or continuous, if the first half ends on the dominant or any other chord. It is rounded if the second part ends with a restatement of the first part. It is simple if the second part does not end with such a restatement. That is all in the wide world there is to it! --The book gives detailed analyses of compositions after offering few or no musical examples. (I should have read Annie Burridge's review and purchased the Burkhart Anthology.) I also see a few high points which are missed: --There is no discussion of development themes. An outstanding example is Mendelssohn's Italian Symphony. --There is no discussion of development canons. An outstanding example is Franck's Symphony in d minor. --In the discussion on chorale preludes, he doesn't give the familiar example of "Wachet Auf." --In the discussion on vocal chorales, he doesn't give the familiar example of "Jesu, Joy of Man's Desiring." --In the discussion on baroque partitas, I would like to see the characteristic rhythms of each of the dance movements. The author probably considers this outside the scope of the book. --He tells us that the recapitulation does not always treat all the themes in the exposition, but he gives us few examples. I have wondered why we never hear the lyrical theme in the recapitulation of the Dvorak cello concerto. This is such a well-known composition that I think it should be used as an example. --I'm curious about how the Liszt piano concertos are constructed. --I'm also curious about how the megalomanic symphonies by Mahler and Bruckner are constructed. It seems that the author was partial toward music of the baroque and classical eras, but nineteenth-century music is popular, like it or not. --I would like more discussion about keyboard preludes. I have never been able to compose a good keyboard prelude. --There is no discussion of standard liturgical texts for church vocal music. The author probably considered this outside the scope of the book, also. Comment | Permalink | (Report this)