The Complete Musician

An Integrated Approach to Theory, Analysis, and Listening

Fifth Edition

Steven G. Laitz and Michael R. Callahan

Offers a complete toolkit for teaching and learning music theory. Each new print and digital copy of the text comes with access to a media-rich enhanced ebook, streaming audio, and a new suite of auto-graded, online exercises that can be integrated into most learning management systems for assessment and practice. Two supplemental workbooks, available for separate purchase or bundled with the text, offer additional activities in writing and analysis and musicianship skills
Connects theory to musicians' work and underscores its relevance to music students' lives and careers; rather than relying on rote memorization, it focuses on music in context, describing composers' works and discussing how theory concepts developed through music
Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations
Includes almost 2,000 musical examples--290 of them new--and nearly 20 hours of streaming music

New to this Edition:

More opportunities for students to practice and hone music theory skills through targeted Skill Check exercises, access to a full suite of assignable online assessments, a new enhanced e-Book that includes embedded streaming audio for nearly every musical example, and a thoroughly revised Writing and Analysis workbook
A more diverse and current repertoire includes 290 new musical examples from compositions by women and by musicians of color, including many written in the twentieth and twenty-first centuries
A streamlined and more student-friendly presentation. A thoroughly revised narrative offers greater clarity and conciseness without sacrificing depth, musicality, or richness, while new pedagogical elements in each chapter equip students to guide and monitor their own learning
A new Intermezzo on Musical Motives, formerly an appendix, falls squarely at the book's midpoint, highlighting shapes that tie together a piece of music across time
How Else Might It Have Gone and Reduction Strategy boxes place hands-on exploration of the book's examples within students' grasp

The Complete Musician

An Integrated Approach to Theory, Analysis, and Listening

Fifth Edition

Steven G. Laitz and Michael R. Callahan

Description

With a focus on music in context and a wealth of in-text and online exercises, The Complete Musician offers a complete program for teaching and learning undergraduate music theory. Rather than rote learning of concepts and memorizing terms, the text asks students to explore the ways in which theory informs and responds to the work of performers and composers, underscoring its relevance to students' wider musical lives. New to this edition, interactive Skill Check exercise within the Enhanced e-Book give students instant feedback as they learn, and assignable, online warm-up exercises help students develop skills before they put pencil to paper.

The Complete Musician

An Integrated Approach to Theory, Analysis, and Listening

Fifth Edition

Steven G. Laitz and Michael R. Callahan

PREFACE

PART 1: FOUNDATIONS
CHAPTER 1A Musical Space: Pitches, Scales, and Keys
CHAPTER 1B Musical Time: Meter and Rhythm
CHAPTER 1C Musical Distance: Intervals
CHAPTER 2 Pitch and Meter Combine: Melody and Counterpoint
CHAPTER 3 Triads, Seventh Chords, and Texture

PART 2: FUSING MELODY, HARMONY, AND COUNTERPOINT
CHAPTER 4 The Role of Context: Embellishing Tones and Melodic Shape
CHAPTER 5 Tonic, Dominant, and Voice Leading
CHAPTER 6 V7 and Two-Level Analysis
CHAPTER 7 Expanding Tonic and Dominant with First-Inversion Triads
CHAPTER 8 Inversions of V7 and Leading-Tone Seventh Chords

PART 3: ESTABLISHING, EXPANDING, AND EMBELLISHING THE PHRASE MODEL
CHAPTER 9 The Pre-Dominant Function and the Phrase Model
CHAPTER 10 Accented and Chromatic Embellishing Tones
CHAPTER 11 Six-Four Chords and Plagal Motions
CHAPTER 12 Pre-Dominant Seventh Chords and Embedded Phrase Models
CHAPTER 13 The Submediant and the Step-Descent Bass
CHAPTER 14 The Mediant and the Back-Relating Dominant

PART 4: SMALL FORMS
CHAPTER 15 Periods
CHAPTER 16 Sentences, Double Periods, and Asymmetric Periods

AN INTERMEZZO ON MUSICAL MOTIVES

PART 5: EXPRESSIVE COLOR THROUGH CHROMATICISM
CHAPTER 17 Applied Chords
CHAPTER 18 Modulation
CHAPTER 19 Harmonic Sequences
CHAPTER 20 Binary Form and Variations
CHAPTER 21 Modal Mixture
CHAPTER 22 Chromatic Modulation and Text-Music Relations
CHAPTER 23 Neapolitan Chords
CHAPTER 24 Augmented-Sixth Chords

PART 6: LARGE FORMS
CHAPTER 25 Ternary Form
CHAPTER 26 Rondo Form
CHAPTER 27 Sonata Form

PART 7: NEAR, AT, AND PAST THE EDGES OF TONALITY
CHAPTER 28 Tonal Ambiguity and Symmetrically Constructed Harmonies
CHAPTER 29 Symmetry Stretches Tonality: Chromatic Sequences and Equal Divisions of the Octave
CHAPTER 30 Centricity, Extended and Non-Tertian Sonorities, and Collections
CHAPTER 31 Analysis with Sets
CHAPTER 32 Metrical and Serial Techniques

GLOSSARY
CREDITS
INDEX OF TERMS AND CONCEPTS
INDEX OF MUSICAL EXAMPLES AND EXERCISES

The Complete Musician

An Integrated Approach to Theory, Analysis, and Listening

Fifth Edition

Steven G. Laitz and Michael R. Callahan

Author Information

Steven G. Laitz is chair of the Music Theory and Analysis department at The Julliard School.

Michael R. Callahan is Associate Professor of Music Theory and Chair of the Music Theory Area in the College of Music at Michigan State University.

The Complete Musician

An Integrated Approach to Theory, Analysis, and Listening

Fifth Edition

Steven G. Laitz and Michael R. Callahan

Reviews and Awards

"The Complete Musician is a comprehensive theory textbook with a linear approach, with aural skills and keyboard, and numerous activities and examples that illustrate each topic well."-David Thurmaier, University of Missouri-Kansas City

"This textbook makes important concepts in music theory accessible to the student in a way that is both clear and concise. Laitz's knowledge of both music-theory pedagogy and the repertoire is superlative, which results in a text that is beneficial to use in the entirety of the music-theory sequence."-Michael Chikinda, University of Utah