Music in Theory and Practice, Volume 2

385 Pages·2008·18.824 MB·English

by  Bruce Benward

Music
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his best-selling text gives music majors and minors a solid foundation in the theory of music.
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Music in Theory and Practice strengthens their musical intuition, builds technical skills, and helps A
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them gain interpretive insights. The goal of the text is to instruct readers on the practical ap-
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plication of knowledge. The analytical techniques presented are carefully designed to be clear, -
uncomplicated, and readily applicable to any repertoire. S
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The two-volume format ensures exhaustive coverage and maximum support for students and
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faculty alike. Volume I covers topics from basic elements through diatonic harmony, while
Volume II covers chromatic harmony along with elements of styles and forms from Grego-
rian chant through the present day. The supplemental instructor’s materials provide clear-cut VOL. IN THEORY- AND PRACTICE
solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that ii
integrates the various components of musical structure and makes them accessible to students ii
H EIGHTH EDITION VOLUME
at the undergraduate level.
ighlights of the Eighth Edition M
Newly engraved musical examples throughout the text include ample workspace and staff-
unify the notation appearing in the texts and workbooks.
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Expanded assignment sections for both volumes of the Music in Theory and Practice textbook
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provide additional practice materials for students. The new course-tested assignments are
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appropriate for both in-class study and homework.
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Additional musical selections have been added to the wide-ranging musical examples includ-
M ed throughout the two volumes, which feature music from the Renaissance to the contem-
D porary period. The text integrates a study of jazz and popular music, which is indigenous to I
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A American culture, into the traditional study of European art music.

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# Macro analysis, which enhances student perception, has been integrated more fully into H
96 both volumes in this edition. The macro analysis descriptions have been enhanced through- E
54 out, and a large number of the musical examples include both Roman numeral and macro O
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7 0 analysis. In addition, updated listings of macro analysis and popular music symbols appear R
5 in the appendix section. Y
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Y Benward / Saker, Music in Theory and Practice, Volume I with Audio CD, 8th edition D
A MHID 0077254945 / ISBN 9780077254940
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M P &
A Also Available R
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Y Workbook to accompany Music in Theory and Practice, Volume I A BRUCE MARILYN
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L MHID 0073127507 / ISBN 9780073127507 B E N W A R D S A K E R
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L Workbook to Accompany Music in Theory and Practice, Volume II I
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MHID 0073127418 / ISBN 9780073127415
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Music
I N T H E O R Y A N D P R AC T I C E
V I I
O L U M E
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Music
I N T H E O R Y A N D P R AC T I C E
V I I
O L U M E
Eighth Edition
Bruce Benward
Late of the University of Wisconsin–Madison
Marilyn Saker
Eastern Michigan University
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Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas,
New York, NY 10020. Copyright © 2009, 2003, 1997, 1993, 1989, 1985, 1981, 1977. All rights reserved. No
part of this publication may be reproduced or distributed in any form or by any means, or stored in a database
or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not
limited to, in any network or other electronic storage or transmission, or broadcast for distance learning.
This book is printed on acid-free paper.
1 2 3 4 5 6 7 8 9 0 QPD/QPD 0 9 8
ISBN: 978-0-07-310188-0
MHID: 0-07-310188-5
Editor in Chief: Michael Ryan
Publisher: William Glass
Sponsoring Editor: Christopher Freitag
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Cover: Digital Vision/Getty Images
Credits: The credits section for this book begins on page 361 and is considered an extension of the copyright
page.
Library of Congress Cataloging-in-Publication Data
Benward, Bruce.
Music in theory and practice / Bruce Benward, Marilyn Saker. —8th ed.
p. cm.
Includes bibliographical references and indexes.
ISBN-13: 978-0-07-310187-3 (vol. 1 : alk. paper)
ISBN-10: 0-07-310187-7 (vol. 1 : alk. paper)
ISBN-13: 978-0-07-310188-0 (vol. 2 : alk. paper)
ISBN-10: 0-07-310188-5 (vol. 2 : alk. paper) 1. Music theory. I. Saker, Marilyn Nadine. II. Title.
MT6.B34M9 2008
781—dc22
2008018491
www.mhhe.com
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Contents
Preface ix Episodes and Entries 52
Variants of Subjects and Answers in an Entry 53
Final Part of a Fugue 56
PART A
History 56
The Renaissance and Baroque Periods 1 Applications 57
Form 62
Assignments 65
1
CHAPTER
Late Renaissance Polyphony 3 PART B
Important Concepts 3 Chromatic Harmony 69
Modes 3 Macro Analysis 69
Consonance 5
Dissonance 6
4
CHAPTER
Melody 10
Rhythm and Meter 10 Borrowed Chords 71
Cadences 13
Parallel Motion 14 Important Concepts 71
Text Setting 15 Borrowed Chords in Major Keys 71
Form 16 History 74
History 16 Applications 76
Applications 17 Doubling and Voice Leading 76
Mode 19 Assignments 79
Melody 19
Vertical Intervals 20 5
CHAPTER
Cadences 20
Text Setting 20 Neapolitan 6th Chords 85
Form 21
Assignments 23 Important Concepts 85
Characteristics 85
Some Exceptional Uses of the Neapolitan 87
2
CHAPTER
History 87
Two-Voice Eighteenth-Century Applications 90
Doubling and Voice Leading 90
Counterpoint 29
Assignments 91
Important Concepts 29
Counterpoint 29 6
CHAPTER
Two-Part Invention 29
Bach Inventions 29 Augmented 6th Chords 99
History 36
Important Concepts 99
Applications 37
Three Types 99
Writing Two-Voice Counterpoint 37
Exceptions 102
General Suggestions 39
History 103
Assignments 41
Applications 106
Doubling and Voice Leading 106
3
CHAPTER Assignments 109
The Fugue 49
PART C
Important Concepts 49
Exposition 49 The Classical Period 117
v
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7
CHAPTER History 181
Applications 184
Variation Technique 119
Voice Leading 184
Popular Music Chord Symbols 185
Important Concepts 119
Assignments 187
Continuous Variation 119
Theme and Variation 120
History 125 CHAPTER 11
Summary 125
Assignments 127 Altered Dominants 193
Important Concepts 193
8
CHAPTER Characteristics 193
History 195
Sonata Form 135
Applications 196
Doubling and Voice Leading 196
Important Concepts 135
Assignments 197
General Pattern 135
Exposition 136
Development 138 CHAPTER 12
Recapitulation 140
History 142 Chromatic Mediants 201
Application 142
Important Concepts 201
General Comments 153
Similar Spellings 202
Phrases 153
Characteristics 202
Harmony 155
History 203
Summary 155
Applications 205
Assignments 157
Doubling and Voice Leading 205
Assignments 207
9
CHAPTER
Rondo Forms 165 PART E
Important Concepts 165 The Nineteenth and Twentieth
Refrain 165 Centuries 211
Episode 165
Transition 165
13
Retransition 165 CHAPTER
Rondo Types 165
The Romantic Period 213
Departures from Standard Rondo Form 166
History 166 Important Concepts 213
Application 166 Expanded Chord Vocabulary 213
Refrain 1 166 Modal Mixture 213
Episode 1 167 Modulation 214
Refrain 2 168 Foreign Modulation 214
Episode 2 169 Unresolved Dissonance 215
Refrain 3 170 Nonfunctional Harmony 216
Coda 171 Chromaticism 216
Summary 172 Increased Dissonance 218
Assignments 173 Enharmonic Spelling 218
Common-Tone Diminished 7th Chords 220
PART D German 6th Chords 222
Assignments 225
Extended and Chromatic Harmony 177
14
CHAPTER
10
CHAPTER The Post-Romantic Style 233
9th, 11th, and 13th Chords 179
Important Concepts 233
Tonal Instability 233
Important Concepts 179
Nonfunctional Harmony 235
Characteristics 179
Omnibus Progression 236
vi Contents
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Blurred Cadence 237 The Text 317
Augmented Triads 238 Strophes 317
Summary 238 Form 318
Assignment 239 Accompaniment 318
Rhythmic and Harmonic Figures 318
15 Dynamics and Tempo Indications 320
CHAPTER
Assignments 321
Impressionism and Related Styles 243
POSTLUDE
Important Concepts 243
Scale Resources 243 Music Since 1945 329
Chords 246
Cadences 250 Musical Developments from 1945–1970 329
Textural Considerations 253 Serialism 329
History 256 Indeterminacy 331
Applications 256 Improvisation 332
Scale Vocabulary 256 Electronic and Computer Music 333
Chord Vocabulary 256 Sound Mass 335
Suggested Approach to Analysis 256 Extended Techniques 338
Specimen Analysis 257 Rock ‘n’ Roll and Rock Music 338
Assignments 269 Music Since 1970 338
Eclecticism 338
16 New Accessibility 338
CHAPTER
Minimalism 338
The Early Twentieth Century 273 Performance Art 340
MIDI Technology 340
Important Concepts 273 Computer-Assisted Composition 340
Major Styles 273 Sampling Systems 341
Tonal Basis 274 Post-1970 Rock 341
Harmony 276 New Age Music 341
Rhythm 279 Ambient Music 341
History 280 World Music 342
Applications 281 Conclusions 342
Marche du Soldat by Stravinsky 281
Chromatic Invention by Béla Bartók 292
Appendixes
Assignments 303
A. Summary of Part-Writing Practices 343
B. Macro Analysis Symbols 347
CHAPTER 17 C. Popular Music Chord Symbols 353
Twelve-Tone Technique 309
Glossary 355
Important Concepts 309
Twelve-Tone Technique 309 Credits 361
History 310
Application 310 Indexes
The Matrix 313 Musical Example Index 363
Selected Forms and Transpositions 316 Subject Index 366
Segments 317
Contents vii
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Preface
TTOO TTHHEE SSTTUUDDEENNTT Volume 1 of Music in Theory and Practice was a general introduction to music theory.
You spent time mastering the details of music syntax and discovering how small patterns
such as scales, intervals, and triads combine to create larger units—phrases, periods, two-
part form, and three-part form. This volume focuses on musical styles from the Renais-
sance to the present. It includes more complex chords, an emphasis on larger forms, and
strategies to help you analyze the compositions you perform.
The goal of this volume is the practical application of information. The analytical tech-
niques presented here are carefully designed to be clear, uncomplicated, and readily ap-
plicable to the repertoire you will develop during your career as a musician. The thorough
understanding of the musical structure of a composition that you gain through analysis
considerably reduces the time required for preparing a performance of that work.
TTOO TTHHEE The eighth edition of Music in Theory and Practice, volume 2, incorporates the following
IINNSSTTRRUUCCTTOORR signifi cant changes:
1. The assignment sections of this text have been expanded to provide additional practice
materials for students. The new course-tested assignments are appropriate for both in-
class study and homework.
2. The musical examples have been newly engraved and designed with the student in
mind. The revised notation includes ample workspace and staff-size adjustments to
facilitate student work.
3. In previous editions, the post-romantic and impressionistic styles were presented in
one chapter. This information now appears in two separate chapters, titled “The Post-
Romantic Style” (Chapter 14) and “Impressionism and Related Styles” (Chapter 15).
This change was made to separate the differing analytical techniques applied to the two
styles.
4. The appendix section includes a summary of four-part voice-leading practices, in addi-
tion to updated listings of macro analysis and popular music symbols.
5. Online support for this edition has been expanded. Resources available from the
M cGraw-Hill Online Learning Center include assignment templates compatible with
Finale™ music notation software, supplementary drill assignments, testing materials,
and additional recordings. Visit www.mhhe.com/mtp8 for these items.
6. Recordings are available for both the textbook and the workbook of this edition of
Music in Theory and Practice. The CD that accompanies this text includes recordings
for several of the assignment scores and in-chapter compositions. These recordings are
identifi ed in the text by the following graphic:
Recordings for compositions presented in the workbook anthology are included at the
Online Learning Center.
ix
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