The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening

Name: The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening
Rating: 4.27 (98 reviews)
Author: Laitz, Steven G.
ISBN: 9780195301083

Laitz, Steven G.

98 ratings by Goodreads

Language: English

Published by Oxford University Press, 2007

0195301080 / 9780195301083

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Title: The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening
Author: Laitz, Steven G.
Publisher: Oxford University Press
Publication year: 2007
Condition: very good
Binding: Hardcover
Language: English
ISBN 10: 0195301080
ISBN 13: 9780195301083
Edition: 2nd Edition

Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum,The Complete Musician, Second Edition, relies on a diverse repertoire and innovative exercises to explicitly connect theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. It provides students with a strong foundation in the principles of writing, analyzing, hearing, singing, and playing tonal harmony and enables them to understand the most important musical forms.

Features of the Second Edition:

* Enhanced and supplemented by five music DVDs--two packaged with the text, two with Student Workbook I, and one with Student Workbook II. These DVDs contain a total of more than sixteen hours of high-quality recorded examples--from solo piano to full orchestra--of the examples and exercises in the text and workbooks, performed by soloists and ensembles from the Eastman School of Music and the Rochester Philharmonic Orchestra. In addition, examples and exercises are included on the DVDs in downloadable MP3 format.
* Significantly revised in order to improve general ordering between large topics (for example, the pre-dominant function is introduced earlier) and organization within chapters (particularly in Parts 1-4)
* Offers new topics and expansions: a new chapter (16) devoted exclusively to the motive; new sections on analytical decision-making through Gestalt techniques (Chapters 2 and 7); lead sheet notation (Chapter 6); harmonizing florid melodies (beginning in Chapter 9); and an expanded section on musical texture and harmonic analysis (Chapter 6)
* Introduces numerous analyses throughout the book, including thirteen "Model Analysis" sections, that provide extended analyses of canonical pieces
* Includes more than 200 new examples, many from wind and brass literature
* Explanations and definitions have been carefully revised for clarity, with added summary charts and step-by-step procedures
* Offers new types of exercises--in both the text and in the workbooks--including exercises for single-line instrumentalists, listening exercises, and more graduated exercises
* Workbook exercises are now structured in a consistent format of discrete assignments (four to eight assignments per chapter) that usually fit on one or two sheets of paper for ease in handing in to the instructor. Each assignment contains a variety of exercises, crafted for students with a wide range of abilities. Supplementary exercises are also included for further practice.
* Expanded Instructor's Manual adds model solutions for more than 200 analysis and part writing exercises; each chapter includes teaching guidelines and supplementary analytical, dictation, playing, and writing exercises

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Review

"I really enjoyed the complete integration of Theory and ET--and these students are significantly more advanced than any sophomore class in the seven years I've been at St. Olaf College, especially in the aural skills department. I did supplement with . . .melodies, but the arpeggiations in the text and also the plethora of harmonic dictations were especially helpful. Having tons of materials to choose from in the workbook was helpful as well, although we didn't begin to use all of it."--Dr. Catherine Rodland, Artist-in-Residence in Organ and Music Theory, St. Olaf College "I really enjoyed the complete integration of Theory and ET--and these students are significantly more advanced than any sophomore class in the seven years I've been at St. Olaf College, especially in the aural skills department. I did supplement with . . .melodies, but the arpeggiations in the text and also the plethora of harmonic dictations were especially helpful. Having tons of materials to choose from in the workbook was helpful as well, although we didn't begin to use all of it."--Dr. Catherine Rodland, Artist-in-Residence in Organ and Music Theory, St. Olaf College "I really enjoyed the complete integration of Theory and ET--and these students are significantly more advanced than any sophomore class in the seven years I've been at St. Olaf College, especially in the aural skills department. I did supplement with . . .melodies, but the arpeggiations in the text and also the plethora of harmonic dictations were especially helpful. Having tons of materials to choose from in the workbook was helpful as well, although we didn't begin to use all of it."--Dr. Catherine Rodland, Artist-in-Residence in Organ and Music Theory, St. Olaf College "I really enjoyed the complete integration of Theory and ET--and these students are significantly more advanced than any sophomore class in the seven years I've been at St. Olaf College, especially in the aural skills department. I did supplement with . . .melodies, but the arpeggiations in thetext and also the plethora of harmonic dictations were especially helpful. Having tons of materials to choose from in the workbook was helpful as well, although we didn't begin to use all of it."--Dr. Catherine Rodland, Artist-in-Residence in Organ and Music Theory, St. Olaf College

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