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Twentieth-Century Music Theory and Practice, by Edward Pearsall
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Twentieth-Century Music Theory and Practice introduces a number of tools for analyzing a wide range of twentieth-century musical styles and genres. It includes discussions of harmony, scales, rhythm, contour, post-tonal music, set theory, the twelve-tone method, and modernism. Recent developments involving atonal voice leading, K-nets, nonlinearity, and neo-Reimannian transformations are also engaged. While many of the theoretical tools for analyzing twentieth century music have been devised to analyze atonal music, they may also provide insight into a much broader array of styles. This text capitalizes on this idea by using the theoretical devices associated with atonality to explore music inclusive of a large number of schools and contains examples by such stylistically diverse composers as Paul Hindemith, George Crumb, Ellen Taffe Zwilich, Steve Reich, Michael Torke, Philip Glass, Alexander Scriabin, Ernest Bloch, Igor Stravinsky, Béla Bartók, Sergei Prokofiev, Arnold Schoenberg, Claude Debussy, György Ligeti, and Leonard Bernstein.
This textbook also provides a number of analytical, compositional, and written exercises. The aural skills supplement and online aural skills trainer on the companion website allow students to use theoretical concepts as the foundation for analytical listening.
Access additional resources and online material here: http://www.twentiethcenturymusictheoryandpractice.net and https://www.motivichearing.com/.- Sales Rank: #314350 in Books
- Published on: 2011-12-22
- Released on: 2012-02-01
- Original language: English
- Number of items: 1
- Dimensions: 10.87" h x .71" w x 8.50" l, 1.60 pounds
- Binding: Paperback
- 312 pages
About the Author
Edward Pearsall is Associate Professor of Music Theory at the University of Texas at Austin.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Excellent Coverage and Clear Explanations - Just Make Sure You Have The Errata Sheet
By frankp93
I don't know if the previous reviewer saw it, but the publisher provides an errata sheet. These are not major errors but that's not an excuse for a careless job. I received my copy a month ago and it included the sheet. If yours doesn't, contact the publisher; I'm sure they'll provide one - and no, I'm not related to the author and I don't work for the publisher.
It's just a very readable and thorough book on a topic too often plagued by opaque books that are torture to read. I think it deserves better than to be dismissed out of hand for relatively minor errors. Just correct them and get on with the learning.
1 of 4 people found the following review helpful.
This Book Sucks
By tromboneman42
This book is terrible for the simple fact that it has been extremely poorly edited. Before we started using it in class, we had to go through and fix 33 errors that the book company has published in a list. 33! Many of them were wrong notes in examples and exercises. Unknown wrong notes in a music theory textbook could cause hours of confusion and be very frustrating. For $75, I do not expect to have to edit the book myself. Unacceptable.
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