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Cover

Music Theory Remixed

A Blended Approach for the Practicing Musician

Kevin Holm-Hudson

Publication Date - December 2016

ISBN: 9780199330560

912 pages
Paperback
8 x 10 inches

In Stock

A contemporary introduction to music theory with a wide-ranging repertory

Description

Designed for today's undergraduate music students, Music Theory Remixed: A Blended Approach for the Practicing Musician presents tonal music theory through a dual lens of works from the Western canon and examples from popular music, including rock, jazz, techno, film soundtracks, and world music. With exceptional clarity, it balances the study of traditional part-writing with the development of essential skills like score analysis and identification of historical style. Each chapter contains guided activities involving analysis, composition, and improvisation, offering a perfect blend of learned material and practical application.

Visit the book's free, open-access Companion Website at www.oup.com/us/holm-hudson for additional student resources, including an online workbook and complete Spotify playlists for all examples.

Features

  • Presents tonal music theory through a dual lens of works from the Western canon and examples from popular music, including rock, jazz, techno, film soundtracks, and world music
  • Covers everything from fundamentals through contemporary theory, in a four-part organization that is ideal for the full 4-semester theory sequence
  • Contains a variety of in-text exercises that allow students to apply what they have learned in each chapter
  • Supported by a wealth of teaching and learning resources, including a computerized test bank, PowerPoint lecture outlines, and a detailed instructor's manual for instructors, and an open-access student companion website with Spotify playlists containing musical examples from the text.
  • Offers additional opportunities for practical application via an online workbook, available packaged with the text or for separate purchase.
  • Based on the latest guidelines and recommendations from the National Association of Schools of Music (NASM)
  • Includes information on recent developments in music theory, including discussions on Neo-Riemannian (LPR) theory, intertextuality, and narrativity
  • Music Theory Skill Builder: this optional supplement, which can be packaged with the text at no additional cost, provides hundreds of exercises in an interactive environment where students can practice and master key concepts in music fundamentals

About the Author(s)

Kevin Holm-Hudson is Associate Professor of Music Theory and Coordinator of the Division of Music Theory and Composition at the University of Kentucky.

Reviews

"The text is very well-written. Music Theory Remixed reflects the current teaching practices. Topics are introduced well, and then discussed thoroughly yet succinctly. Thankfully, the text is not too wordy and concepts are not overly explained." --Kristin Wendland, Emory University

"A wide and pertinent variety of musical styles and genres, Music Theory Remixed proves that theory isn't just for classical music. A general reliance upon contextualized musical examples, rather than abstract part-writing, and actual inclusion of major theoretical approaches of the past three decades are the primary strengths of this text." --Nathan Baker, Casper College

"The musical examples selected by Holm-Hudson are an excellent balance between familiar favorites and fresh, novel choices. They provide immediate context for the musical detail under examination and, as an added benefit, are very enjoyable. The inclusion of some popular, jazz, and non-Western music is well integrated and does not feel like an "add-on," as it does in some other texts. Holm-Hudson is obviously well-versed in a wide variety of styles and genres and speaks with genuine authority." --Janet E. Greene, Hamline University

Table of Contents

    CONTENTS

    PREFACE

    PART 1: FUNDAMENTALS AND DIATONIC HARMONY

    PRELUDE: SETTING THE STAGE
    Introduction: Knowing the Secrets
    Three Listening Studies
    Sound Example 1.1: Scott Johnson, John Somebody-Pt. 1
    Sound Example 1.2: Iannis Xenakis, Concrèt PH
    Sound Example 1.3: Robert Schumann, Arabeske in C major, op. 18
    Web Feature PRL.1: John Lee Hooker, "Boogie Chillun"
    Weaving the Sonic Tapestry: Texture
    Monophony: Jean Ritchie, "Barbary Allen (Barbara Allen)" and Johann Sebastian Bach, Minuet II from Suite no. 1 in G major for solo cello, BWV 1007
    Homophony: Fréderic Chopin, Prelude in B minor, op. 28, no. 6
    Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777
    Heterophony: Master Musicians of Jajouka featuring Bachir Attar, "El Medahey"
    Conclusion
    Terms to Know

    CHAPTER 1: DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES
    The Keyboard, Pitch, and Pitch Class
    Clefs and the Grand Staff
    Level Mastery 1.1
    Accidentals and Enharmonic Spellings
    Level Mastery 1.2
    Notation on the Staff
    The Harmonic Series and Timbre
    The Major Scale and Its Scale Degrees
    Level Mastery 1.3
    Major Key Signatures
    Level Mastery 1.4
    The Minor Scale Forms and Their Scale Degrees
    The Natural Minor Scale
    The Harmonic Minor Scale
    The Melodic Minor Scale
    Level Mastery 1.5
    Minor Key Signatures
    Level Mastery 1.6
    The Circle of Fifths and Closely Related Keys
    Web Feature 1.1: Observations of Tonal Relationships and the Evolution of Musical Style
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 2: DIMENSIONS OF PITCH II: MODES, INTERVALS, CONSONANCE AND DISSONANCE
    Diatonic Modes
    Level Mastery 2.1
    Web Feature 2.1: Experimenting with Scales
    Web Feature 2.2: Javanese Court Gamelan, "Hudan Mas"
    The Space Between the Tones: Intervals
    Level Mastery 2.2
    Interval Quality
    Perfect Intervals
    Web Feature 2.3: The Tritone: The Devil in Music
    Major and Minor Intervals
    Augmented and Diminished Intervals
    Compound Intervals
    Spelling Intervals
    Inversion of Intervals
    Level Mastery 2.3
    Level Mastery 2.4
    Consonant and Dissonant Harmonic Intervals
    Web Feature 2.4: Contextual Dissonance in Richard Strauss's Also Sprach Zarathustra
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 3: DURATION, RHYTHM, AND METER
    Time: The Wellspring of Music
    Metric Structure
    Sound Example 3.1: Hoobastank, "The Reason"
    Web Feature 3.1: Perceiving Levels of Meter in Autechre's "Crystel"
    Types of Meter
    Representing Durations
    Level Mastery 3.1
    Meter Signatures
    Level Mastery 3.2
    Accent
    Level Mastery 3.3
    Organizing Meter: Beaming and Syncopation
    Web Feature 3.2: Competing Groupings in Dave Matthews Band's "Drive In Drive Out"
    Web Feature 3.3: Issues in Tempo, Meter, and Notation
    Web Feature 3.4: Changing Groupings in Peter Gabriel's "The Rhythm of the Heat"
    Level Mastery 3.4
    Additive Meters
    Sound Example 3.2: Bulgarian Choral Folk Song, "Dilmano,
    Dilbero"
    Web Feature 3.5: Changing Additive Meters in Igor Stravinsky's "Glorification of the Chosen One" from The Rite of Spring
    Level Mastery 3.5
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 4: TRIADS AND SEVENTH CHORDS
    Triads and Chord Quality
    Level Mastery 4.1
    Triad Inversions
    Seventh Chords and Chord Quality
    Level Mastery 4.2
    Seventh Chord Inversions
    Level Mastery 4.3
    Introduction to Figured Bass
    Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach's Recitative II from Cantata no. 140
    Level Mastery 4.4
    Pop Chord Symbols
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 5: DIATONIC CHORD LABELS
    Diatonic Triads in Major     Keys
    Roman Numerals
    Diatonic Triads in Minor Keys
    Level Mastery 5.1
    Diatonic Seventh Chords in Major Keys
    Diatonic Seventh Chords in Minor Keys
    Level Mastery 5.2
    Harmonic Functions
    Level Mastery 5.3
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 6: INTRODUCTION TO COUNTERPOINT AND VOICE LEADING
    Constructing a Melodic Line
    Level Mastery 6.1
    Voice Leading and Types of Motion
    Level Mastery 6.2
    Introduction to the First Three Species of Counterpoint
    First Species
    Level Mastery 6.3
    Second Species
    Level Mastery 6.4
    Third Species
    Level Mastery 6.5
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 7: FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE
    Tendency Tones
    Level Mastery 7.1
    More Resolution Principles
    Level Mastery 7.2
    Cadences
    Web Feature 7.1: Deceptive Cadences Not Using vi
    Level Mastery 7.3
    Cadences and Harmonic Rhythm
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 8: PART WRITING WITH ROOT POSITION TRIADS
    Chord Spacing
    Doubling
    Level Mastery 8.1
    From Doubling to Voice Leading
    Consistency
    General Part Writing Principles
    Level Mastery 8.2
    Connecting Triads with the Same Root
    Connecting Triads a Fourth (Fifth) Apart
    Connecting Triads a Third (Sixth) Apart
    Connecting Triads a Second (Seventh) Apart
    Level Mastery 8.3
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 9: PART WRITING WITH FIRST INVERSION TRIADS AND SEVENTH CHORDS
    Doubling in First Inversion Triads
    Level Mastery 9.1
    Parallel First Inversion Triads
    Level Mastery 9.2
    Resolving Diatonic Seventh Chords in First Inversion
    Level Mastery 9.3
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 10: PART WRITING WITH SECOND INVERSION TRIADS AND SEVENTH CHORDS
    Introduction
    Doubling
    The Cadential 6/4 chord
    Other Contexts for the 6/4 Chord
    The Passing 6/4 and 4/3 Chord
    The Neighboring 6/4 and 4/3 Chord
    The Arpeggiating 6/4 and 4/3 Chord
    The Pedal 6/4 and 4/3 Chord
    Level Mastery 10.1
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    PART 2: FORM AND CHROMATIC HARMONY 1

    CHAPTER 11: MELODIC FIGURATION: NON-CHORD TONES
    Introduction to Melodic and Textural Reduction
    An Exercise in Embellishment: "My Country, 'Tis of Thee"
    Neighbor Tones
    Passing Tones
    Incomplete Neighbors: Appoggiaturas and Escape Tones
    Level Mastery 11.1
    Suspensions, Retardations, and Anticipations
    Types of Suspensions
    Retardations
    Anticipations
    Level Mastery 11.2
    Pedal Point
    Web Feature 11.1: Non-Chord Tones in Score Context
    Level Mastery 11.3
    Web Feature 11.2: Another Look at "Für Elise" (textural reduction)
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 12: MOTIVES, PHRASES, AND PERIODS
    Motives
    Web Feature 12.1: Motives in Bach's Brandenburg Concerto No. 3, Third Movement
    Web Feature 12.2: Motives in Thelonious Monk's "Well You Needn't"-In Composition and Improvisation
    Web Feature 12.3: Motivic Parallelism in Queen's "We Are the Champions"
    Putting Ideas Together: Sentence Structure
    Phrase Structure
    Level Mastery 12.1
    Larger Phrase Groupings
    Hypermeter
    Arch Maps: A Tool for Analysis of Phrase Structure
    Level Mastery 12.2
    When Phrases Collide: Elision
    Web Feature 12.4: Joseph Haydn, Symphony no. 101 ("Clock"), Third Movement
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 13: HARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL
    Introduction: Harmonic Function Revisited
    Level Mastery 13.1
    Periods and the Phrase Model
    Contrapuntal Expansion of Harmonic Function: Prolongation
    Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18
    Level Mastery 13.2
    Conclusion
    Terms to Know
    Apply This!

    CHAPTER 14: HARMONIC PROGRESSION AND THE CIRCLE OF FIFTHS
    The vii°
    Level Mastery 14.1
    The ii(7) and IV(7) in Major and Minor
    Web Feature 14.1: Bach's Part Writing Solutions in the Prelude in C major, BWV 846, from the Well-Tempered Clavier, Book 1
    Level Mastery 14.2
    The vi(7) in Major and Minor
    The iii(7) in Major and Minor
    Level Mastery 14.3
    Summary of Harmonic Motion
    The VII in Minor
    The Diatonic (Descending Fifth) Circle-of-Fifths Harmonic Sequence
    Level Mastery 14.4
    The Reverse (Ascending Fifth) Circle-of-Fifths Harmonic Sequence
    The Descending Third Harmonic Sequence
    The     Ascending Second (5-6) Harmonic Sequence
    The Descending Second (7-6) Harmonic Sequence
    Harmonic Progression in Popular Music
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 15: SECONDARY CHORDS AND TONICIZATION
    Secondary Dominant (and Dominant Seventh) Chords
    Level Mastery 15.1
    Resolving Secondary Dominant Chords
    Level Mastery 15.2
    Recognizing and Identifying Secondary Dominant Chords
    The Chromatic Circle-of-Fifths Harmonic Sequence
    Passing Secondary Dominant Chords
    Level Mastery 15.3
    Secondary Leading-Tone (Diminished) Chords
    Level Mastery 15.4
    Resolving Secondary Leading-Tone Chords
    Level Mastery 15.5
    Recognizing and Identifying Secondary Leading-Tone Chords
    Web Feature 15.1: Secondary Chords in Context
    Level Mastery 15.6
    Conclusion
    Terms to Know
    Self-Test
    Apply This

    CHAPTER 16: MODE MIXTURE
    Introduction
    Mode Mixture in Major
    Mode Mixture in Minor
    Recognizing and Spelling Borrowed Chords
    Level Mastery 16.1
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    PART 3: FORM AND CHROMATIC HARMONY 2

    CHAPTER 17: MODULATION 1
    The Harmonic Journey: There and Back Again
    Web Feature 17.1: Tonality as a Journey
    Common-Chord Modulation
    Level Mastery 17.1
    Chromatic Modulation
    Level Mastery 17.2
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 18: MODULATION 2
    Introduction
    Common-Tone Modulation
    Sequential Modulation
    Monophonic     Modulation
    Direct Modulation
    Progressive Tonality
    Web Feature 18.1: Modulation in Context-Mozart, Fantasy in C Minor K.475
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 19: CANON AND FUGUE
    Introduction
    Canon: Lassus, "Qui Sequitur Me"
    Fugue: The Exposition
    After the Exposition
    Level Mastery 19.1
    Contemporary Applications: Bartók, Hindemith, Shostakovitch
    A Contemporary Application: Gentle Giant, "On Reflection"
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 20: BINARY AND TERNARY FORMS
    Introduction: The Two-Part Principle
    Types of Binary Forms
    Level Mastery 20.1
    Ternary Form
    Simple Ternary Form
    Compound Ternary Form
    Level Mastery 20.2
    Song Form     (AABA)
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 21: SONATA FORM
    Introduction: The Evolution of Sonata Form
    The Exposition
    The Development Section
    The Recapitulation
    Web Feature 21.1:     Sonata Form in Context-Mozart's Symphony no. 40 in G Minor, K. 550 (i)
    Web Feature 21.2: The Sonata Principle in Popular Music
    Level Mastery 21.1
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 22: RONDO
    Introduction: Extending the Principle of Departure and Return
    Web Feature 22.1: The Baroque Rondeau
    Characteristics of Classic-Era Rondos
    The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Second Movement
    The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in     C Minor, op. 13 ("Pathétique"), Third Movement
    Level Mastery 22.1
    The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B flat Major, K.333,
    Third Movement
    Web Feature 22.2: When Two Episodes Are Not Enough-Mozart's Rondo in F major, K.494
    The Rondo in Popular Music?
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 23: VARIATION FORMS
    Introduction
    Continuous Variations
    Contemporary Chaconne no. 1: Philip Glass, "Kuru Field of Justice"
    Contemporary Chaconne no. 2: U2, "With or Without You"
    Sectional Variations
    Level Mastery 23.1
    Jazz Improvisation as Variation
    Twelve-Bar Blues
    Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver and Louis Armstrong
    Techno and Open-Form Variation
    Variation as a Process: North Indian Raga
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 24: CHROMATICISM I: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS
    Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling
    Level Mastery 24.1
    Augmented Sixth Chords
    The Italian Augmented Sixth (It+6)
    The French Augmented Sixth (Fr+6)
    The German Augmented Sixth (Ger+6)
    Level Mastery 24.2
    Related Chords: The Doubly Augmented 4/3 Chord and the Diminished Third Chord
    Chromatic Harmony in Context of the Phrase Model
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    PART 4: ADVANCED CHROMATIC HARMONY AND CONTEMPORARY TECHNIQUES

    CHAPTER 25: ALTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS
    Introduction
    Ninth Chords
    Eleventh Chords
    Thirteenth Chords
    Color Tones
    Level Mastery 25.1
    Altered Dominant Chords
    Inversions of Altered Dominant Chords
    Level Mastery 25.2
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 26: FURTHER CHROMATIC ENHANCEMENTS
    Introduction
    Extended Tonicization
    Common-Tone (Embellishing) Diminished Seventh Chords
    Level Mastery 26.1
    Linear Chords
    Chromatic Mediant Relationships
    Neo-Riemannian Theory
    Level Mastery 26.2
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 27: MODULATION 3
    Introduction
    Enharmonic Modulation
    Level Mastery 27.1
    Level Mastery 27.2
    Other Types of Enharmonic Modulation
    The     Omnibus Progression
    Modulation as Narrative
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 28: CONTEMPORARY TECHNIQUES I
    Introduction: The Path to New Music, Pathways Back to Older Musics
    A Tale of Three Chords
    Impressionism
    Planing
    Level Mastery 28.1
    Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel's Sonatine
    Integer Notation
    Level Mastery 28.2
    Synthetic Scales
    Level Mastery 28.3
    Polytonality
    Secundal and Quartal-Quintal Chords
    Level Mastery 28.4
    Pandiatonicism
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 29: CONTEMPORARY TECHNIQUES II
    Introduction
    Twelve-Tone Technique
    Level Mastery 29.1
    Extensions of Twelve-Tone Technique: Integral Serialism
    Web Feature 29.1: Examples of Twelve-Tone Music in Jazz
    Free Atonality and Set Theory
    Octave Equivalence and Mod 12
    Level Mastery 29.2
    Normal Order
    Level Mastery 29.3
    Transpositional Equivalence: The Transposition (T    n) Operation
    Inversional Equivalence: The Inversion (T    ni) Operation
    Level Mastery 29.4
    Set Class, Interval Vector, and Z-Relation
    Set Class
    Interval Vector
    Z-Relation
    Level Mastery 29.5
    Subset and Superset Relations
    Combinatoriality
    Symmetry
    Level Mastery 29.6
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    CHAPTER 30: CONTEMPORARY TECHNIQUES III
    Introduction
    New Approaches to Form
    Indeterminacy
    Minimalism
    Postmodernism and Stylistic     Pluralism
    Conclusion
    Terms to Know
    Apply This!

    CHAPTER 31: THE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY
    Introduction
    Hocked Hooks and Recycled Riffs: Musical Intertextuality
    Web Feature 31.1: Style: The Way Riffs Wander
    Narrativity and Musical Meaning
    Anaphones
    An Analysis of Anaphones: Pink Floyd, "Comfortably Numb" (    The Wall, 1979)
    Music and Narrative
    Web Feature 31.2: Narrative Devices in Schubert's "Erlkönig"
    Music as Narrative
    Web Feature 31.3: Narrative Elements in Chopin's Ballade No. 1 in G minor, op. 23
    Conclusion
    Terms to Know
    Self-Test
    Apply This!

    ONLINE APPENDIX: ANSWERS TO SELF-TESTS

    INDEX

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