PDF Ebook The Musician's Guide to Theory and Analysis (The Musician's Guide Series), by Jane Piper Clendinning, Elizabeth West Marvin
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The Musician’s Guide to Theory and Analysis covers the essential principles of diatonic and chromatic tonal harmony, systematically developing skills in part-writing, figured-bass realization, melody harmonization, counterpoint, stylistic composition and arranging, and music analysis, including contemporary music.
The much-anticipated Musician’s Guide series offers a comprehensive four-semester introduction to the skills of complete musicianship, seamlessly integrating theory and analysis, aural training, and performance in one pedagogical program.The Musician’s Guide series is divided into two main components, each represented by a core text. While complete enough to be used alone, these dynamic texts are fully coordinated, sharing the same pedagogical approach and structure. Each book relies on a core repertoire of real music that is revisited throughout in a variety of theory- and performance-based contexts. These texts are complemented by a rich collection of learning resources.
- Sales Rank: #444815 in Books
- Published on: 2004-08-17
- Original language: English
- Number of items: 1
- Dimensions: 9.60" h x 1.60" w x 7.80" l, 3.52 pounds
- Binding: Hardcover
- 912 pages
About the Author
Jane Piper Clendinning is professor of music theory at the Florida State University College of Music. She has published articles reflecting her interests in the history of theory, theory and analysis of twentieth-century music, computer pitch recognition, and computer applications in music. Her current research interests include theory and analysis of popular and world musics. She has served as the chair of the Advanced Placement Music Theory Test Development Committee and as an AP reader, and is a regular consultant at AP workshops and summer Institutes.
Elizabeth West Marvin is professor of music theory and former dean of academic affairs at the Eastman School of Music. She has published in the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance. She is past president of the Society for Music Theory and is currently co-chair of the Advanced Placement Music Theory Test Development Committee. Marvin is the 2012 recipient of the Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship.
Most helpful customer reviews
36 of 38 people found the following review helpful.
A Five Star Winner for Self-Study
By Grace Lynn
I bought this book after thoroughly researching music theory book possibilities here. I have been studying music theory in a class with the Benward book, but I did not do well as I wanted on a placement test for university transfer, and I do not easily understand Benward. When this book arrived, it did not take me long to know this is just what I am looking for to review music theory on my own. I opened to figured bass and there were easy to understand verbal and musical explanations right there that took a year for me to understand in theory class. Wish I had this book last year, I would have understood the key concepts in a day. I like also that there are many exercises I can do to test my knowledge, and answers are in the back. Verbal explanations are clear, in a friendly, conversational style, there are many musical examples, key concepts are clearly indicated in blue, and each chapter has an outline right at the beginning indicating what is to be covered. This book is very well organized, there's an appendix of key definitions in the back, and it is easy to locate topics by accessing the index and the table of contents. Nothing dry about this book. The authors make reference to examples in the accompanying anthology and CD set. I do not have this, as I have access to many of these examples at another site, but I might also buy this for convenience. I also bought the workbook, but, with the opportunity to do assignments and have answers in the back of the book, I don't think I really needed the workbook. The layout is very pleasing, popular as well as classical music is referenced for examples, although this is more about classical musical theory, and the authors have done an exemplary job.
9 of 10 people found the following review helpful.
It works for me.
By Lord of the High C's
I was fortunate enough to attend a workshop on this and other textbooks last summer with Dr. Clendenning. Although it is not perfect, it is still basically a good book. The things that are attractive to me are the variety and number of musical examples- many pieces with which my students are already familiar, and lots of practice opportunities in the workbook.
Being a high school AP Music Theory teacher, I need material at the level of my students. It is a good book for us. As someone with a Master's degree in music, I would prefer something a little more in-depth. This book is not aimed at PhD's, and I am amused that some people find it so offensive. To me, giving something the lowest possible rating means that it is utterly useless. That is an unfair statement. It is a good book- effective for teaching HS students. In my opinion, it is not a phenomenal book, but you can do much worse, for certain.
20 of 27 people found the following review helpful.
Alright
By Cameron W. Malek
The book is fairly comprehensive, but it is rife with mistakes, both in the literature and the workbook. The authors also make use of non-standard terms frequently. You can certainly learn a great deal from the book, but it's not without obvious drawbacks.
The Rutger's University faculty recently tested the book over a two year period and have discontinued its use due to student feedback and teacher opinion.
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