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Student Workbook to Accompany Analysis of Tonal Music

A Schenkerian Approach

Fourth Edition

Karen Bottge, Allen Cadwallader, and David Gagné

Publication Date - July 2019

ISBN: 9780190846688

192 pages
Paperback
8-1/2 x 11 inches

In Stock

Retail Price to Students: $59.99

The most complete introduction to Schenkerian analysis

Description

Guiding students systematically through the process of analysis, this extensively revised Student Workbook complements the fourth edition of Analysis of Tonal Music: A Schenkerian Approach. It presents works from a variety of instrumental settings, including four complete vocal works and excerpts from string quartets, symphonic movements, opera, chamber works, orchestral suites, sonatas and concertos, and solo piano works.

Two-section chapters in Part 1 provide students with more guidance than the previous edition: Preliminaries offer a review of foundational Schenkerian terms and concepts--along with short excerpts and targeted practice exercises--while slightly lengthier excerpts for Analysis include guided tips. In Part 2, Analytical Applications (chapters 7-11), the scale of the excerpts gradually increases. Chapter 7 offers small-scale Ursatz patterns (8-20 bars); chapters 8 and 9 reinforce complete one- and two-part forms; and the final two chapters conclude with the study of ternary form and sonata process.

This Student Workbook is available for separate purchase (978-0-19-0846688) or in money-saving bundles with the text. Please contact your Oxford University Press sales representative or call 800.280.0280 for details.

New to this Edition

  • New excerpts for analysis, exercises that are more closely linked to the text's topics, and scaled-down instructions throughout help reinforce concepts and better engage students
  • Each chapter now offers substantial material for in-class demonstration, discussion, and homework assignments
  • Two-section chapters in Part 1 provide students with more guidance than the previous edition: Preliminaries offer a review of foundational Schenkerian terms and concepts--along with short excerpts and targeted practice exercises--while slightly lengthier excerpts for Analysis include guided tips
  • New exercises in species counterpoint, structural melody, structural bass, sequences, and short phrase-length lower-level Ursatz parallelisms (8 bars) give students more practice

About the Author(s)

Karen M. Bottge is Associate Professor of Music Theory and Director of the Certificate in Music Theory Pedagogy Program at the University of Kentucky.

Allen Cadwallader is Professor Emeritus of Music Theory at the Oberlin Conservatory of Music.

David Gagné is Professor Emeritus of Music Theory at Queens College, City University of New York.

Reviews

"Analysis of Tonal Music is simply the best and most musically sensitive text. By far, it has produced the finest results; students learn the 'how' and 'why' of putting together an analytical graph by absorbing the theoretical concepts, then applying them to well-chosen examples. I will always recommend this book over any others." --Joseph Kraus, Florida State University

"Of all the books on the market, Analysis of Tonal Music remains the clearest and most accurate introduction to graphic technique and analysis according to Schenker's method. I recommend this text heartily."--William Marvin, Eastman School of Music

Table of Contents

    CHAPTER 2: MELODY AND COUNTERPOINT
    PRELIMINARIES
    Assignments
    2.1. Chapter 2 Terminology
    2.2. Species Counterpoint
    2.3. Structural Melody
    a. Schumann, "Puppenwiegenlied" from Three Piano Sonatas for the Young, Op. 118a, No. 3, bars 1-8
    b. Haydn Piano Sonata, Hob. XVI:41, Allegro di molto, bars 1-8
    c. Tartini, Sarabanda (arr. Moffat), Largo con espressione, bars 1-8
    d. Chopin, Nocturne in F minor, Op. 55, No. 1, bars 5-8
    e. Beethoven, Violin Sonata, Op. 12, No. 1, Allegro, bars 9-16
    f. Mozart, "Voi che sapete" from The Marriage of Figaro, bars 9-S20
    g. Mozart, Variations on "Ah, vous dirai-je maman," K. 265/300e, Tema and Variation III

    ANALYSIS
    Assignments
    2.4. Beethoven: Seven Variations on "God Save the King," WoO 78, Thema and Variation 5
    2.5. Folk Tune: "Ashgrove"
    2.6. Bellini, "Casta Diva" (from Norma), bars 16-23

    CHAPTER 3: BASS LINES AND HARMONIC STRUCTURE
    PRELIMINARIES
    Assignments
    3.1. Chapter 3 Terminology
    3.2. Uninterrupted Bass-line Structures
    a. Mozart, String Quartet, K. 157, Allegro, bars 1-9
    b. Albinoni, Adagio in G minor, bars 1-8
    c. Mouret, Fanfares et Simphonies, No. 1, bars 9-16
    d. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Adagio sostenuto, bars 1-5
    e. Schumann, "Von fremden Ländern und Menschen," from Kinderszenen, Op. 15, No. 1, bars 1-8
    f. Schubert, Zw:olf Graser Walzer, Op. 91, No. 8, bars 1-8
    g. Beethoven, Piano Sonata, Op. 7, Largo, con gran espressione, bars 1-8
    h. Mozart, Cassation, K. 63, Adagio, bars 1-4
    i. Hoffstetter (attr. Haydn), String Quartet, Op. 3, No. 3 (Hob. III:15), Presto, bars 1-8
    j. Mozart, String Quartet, K. 499 ("Hoffmeister"), Menuetto, bars 1-8
    3.3. Interrupted Bass-line Structures
    a. Haydn, String Quartet, Hob. III:66, Menuetto, bars 1-8
    b. Mozart, Clarinet Quintet, K. 581, Menuetto, bars 1-8
    c. Beethoven, Piano Sonata, Op. 49, No. 1, Allegro, bars 1-8
    d. Schubert, Octet, Op. 166, Andante, bars 1-8
    e. Haydn, Piano Trio, Hob. XV:28 Allegro moderato, bars 1-4
    f. Mendelssohn, String Quartet, Op. 13, Intermezzo, bars 1-8
    g. Haydn, Piano Trio, Hob. XV:28, Finale, bars 9-16
    h. Beethoven, String Quartet, Op. 130, Alla danza tedesca, bars 1-8
    i. Mozart, Bassoon Concerto, K. 191, Rondo, bars 1-8

    ANALYSIS
    Assignments
    3.4. Schumann, Little Study, bars 1-17
    3.5. Chopin, Valse Brillante, Op. 34, No. 2, bars 17-36
    3.6. Beethoven, Piano Sonata, Op. 2, No. 3, Trio, bars 1-24

    CHAPTER 4: LINEAR TECHNIQUES
    PRELIMINARIES
    Assignments
    4.1. Chapter 4 Terminology
    4.2. Linear Progressions
    a. Handel, "For unto us a child is born," from Messiah, bars 7-8
    b. Petzold, Minuet, from Notebook for Anna Magdalena Bach, BWV Anh. 116, bars 5-8
    c. Bach, Polonaise, from Notebook for Anna Magdalena Bach, BWV Anhang 116, bars 1-8
    d. Handel, "Oh Thou that Tellest Good Tidings to Zion," from Messiah, bars 1-5
    e. Verdi, "La donna è mobile," from Rigoletto, bars 1-9
    f. Petzold, Minuet, from Notebook for Anna Magdalena Bach, BWV Anh. 115, bars 9-16
    g. Mozart, String Quartet, K. 458, Minuetto, Moderato, bars 1-8
    h. Beethoven, Romance for Violin and Orchestra, Op. 50, Adagio cantabile, bars 1-4
    i. Haydn, Trumpet Concerto, Hob. VIIe:1, Finale, bars 1-11
    4.3. Linear intervallic patterns
    a. C.P.E. Bach, Keyboard Sonata, H. 245, Rondo Espressivo, bars 20-24
    b. Vivaldi, "Domine Deus," from Gloria, RV 589, bars 19-22
    c. Poulenc, "Domine Deus," from Gloria, FP 177, bars 1-4
    d. Brahms, Symphony No. 4, Op. 98, Allegro non troppo, bars 1-8
    e. Haydn, String Quartet, Hob. III:32, Trio, bars 57-68
    f. C.P.E. Bach, Die sechs Sammlungen von Sonaten, Freien Phantasien und Rondos für Kenner und Liebhaber, Wq. 58, Rondo I, bars 51-54
    g. Mozart, Overture from Die Zauberflöte, K. 620, Allegro, bars 148-53
    h. Beethoven, Piano Sonata, Op. 28, Allegro, bars 16-27

    ANALYSIS
    Assignments
    4.4. Bach, French Suite in C minor, BWV 813, Minuet, bars 17-24
    4.5. Mozart, Piano Sonata, K. 280, Presto, bars 1-37
    4.6. Bach, Harpsichord Concerto (after Marcello), BWV 974, Adagio, bars 1-15
    4.7. Bach, Prelude from English Suite No. 3 in G minor, BWV 808, bars 1-33

    CHAPTER 5: TONAL STRUCTURE
    PRELIMINARIES
    Assignments
    5.1. Chapter 5 Terminology
    ANALYSIS
    5.2. Uninterrupted Urlinie Patterns
    a. Beethoven, "Ich liebe dich, so wie du mich WoO 123, bars 1-8
    b. Chopin, Nocturne, Op. 55, No. 1, bars 1-8
    c. Beethoven: Seven Variations on "God Save the King," WoO 78, Thema, bars 1-8
    d. Haydn, Symphony, Hob. I:88, Largo, bars 1-8
    e. Haydn, Symphony, Hob. I:97, Trio, bars 1-8
    5.3. Interrupted Urlinie Patterns
    a. Clarke, "The Prince of Denmark March," bars 1-8
    b. Hoffstetter (attr. Haydn) String Quartet, Op. 3, No. 5 (Hob. III:17), Andante cantabile, bars 59-66
    c. Schubert, "Wiegenlied," Op. 98, No. 2, bars 1-4
    d. Brahms, Variations on a Theme by Haydn ("St. Anthony Variations"), Op. 56a, Andante, bars 1-10
    e. Mozart, Horn Quintet, K. 407, Allegro, bars 1-8
    f. Beethoven, "An die Freude," from Symphony No. 9, Op. 125, Finale, bars 213-228

    CHAPTER 6: TECHNIQUES OF MELODIC PROLONGATION
    PRELIMINARIES
    Assignments
    6.1. Chapter 6 Terminology
    6.2. Short Excerpts
    a. Beethoven, Piano Trio, Op. 1, No. 2, Largo con espressione, bars 1-4
    b. Bach, "Air on the G String," from Orchestral Suite No. 3, BWV 1068, bars 14-15
    c. Mozart, Piano Sonata, K. 330, Allegro Moderato, bars 1-4
    d. Chopin, Prelude, Op. 28, No. 15 ("Raindrop"), bars 1-5
    e. Mozart, Piano Sonata, K. 309, Andante un poco Adagio, bars 1-4
    f. Handel, "La Rejouissance," from Music for the Royal Fireworks, HWV 351, bars 1-3
    g. Brahms, "Wiegenlied," Op. 49, No. 4, bars 1-6
    h. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Presto agitato, bars 133-137
    i. C.P.E. Bach, "Prussian" Sonata, Vivace, bars 17-25
    j. Mozart, String Quartet, K. 464, Allegro, bars 1-8
    k. Beethoven, Piano Sonata, Op. 13 ("Pathetique"), Grave, bars 1-5
    l. Schubert, "Der Müller und der Bach," from Die schöne Müllerin, bars 6-10
    m. Mozart, String Quartet, K. 421, Allegro ma non troppo, bars 1-8

    ANALYSIS
    Assignments
    6.3. Longer Excerpts
    a. Mozart, Piano Concerto, K. 482, Allegro, bars 1-8
    b. Mozart, Cassation, K. 99, Minuet, bars 1-8
    c. Mozart, String Quartet, K. 421, Trio, bars 1-8
    d. Haydn, Symphony, Hob. I:83, Menuet, bars 1-8
    e. Beethoven, Bagatelle, Op. 119, No. 9

    CHAPTER 7: SOME ELABORATIONS OF FUNDAMENTAL STRUCTURES
    Assignments
    7.1. Mozart, Violin Sonata, K. 296, Allegro, bars 1-16
    7.2. Haydn, Symphony 101 ("The Clock"), Hob. I:101, Andante, bars 1-10
    7.3 Mozart, Rondo in D major, K. 485, Allegro, bars 1-16
    7.4. Beethoven, Piano Sonata, Op. 10, No. 1, Allegro, bars 1-22
    7.5. Schubert, Sonata in A minor ("Arpeggione"), Allegro moderato, bars 1-22
    7.6. Beethoven, Piano Sonata, Op. 27, No. 2 ("Moonlight"), Presto agitato, bars116-137
    7.7. Schumann, "Ich will meine Seele tauchen," from Dichterliebe
    7.8. Beethoven, "Mollys Abschied," from Acht Gesänge und Lieder, Op. 52, No. 5

    CHAPTER 8: ONE-PART FORMS
    Assignments
    8.1. Clementi, Prelude in C major, from Préludes et exercices, No. 2
    8.2. Beethoven, "Lied," from Acht Gesänge und Lieder, Op. 52, No. 6
    8.3. Handel, Air (Hornpipe) in D minor, HWV 461
    8.4. Handel, Prelude, HWV 572
    8.5. Schubert, "Das Wandern," from Die schöne Müllerin, Op. 25
    8.6. Schubert, "Heidenröslein, Op. 3, No. 3

    CHAPTER 9: BINARY FORMS
    Assignments
    9.1. Mozart, Piano Concerto, K. 453, Allegretto, bars 1-16
    9.2. Handel, "Aria con Variazioni," from Suites de Pièces, HWV 434, bars 1-8
    9.3. Beethoven, Bagatelle, Op. 119, No. 9
    9.4. Bach, Menuet in D minor, BWV Anhang 132
    9.5. Haydn, String Quartet, Hob. III:74, Largo assai, bars 1-22
    9.6. Brahms, Waltz, Op. 39, No. 15

    CHAPTER 10: TERNARY FORMS AND RONDO
    Assignments
    10.1. Chopin, Waltz, Op. 70, No. 3
    10.2. Haydn, String Quartet, Hob. III:74, Largo assai (B section and completion of movement)
    10.3. Brahms, Intermezzo, Op. 118, No. 2, B section (bars 49-73)
    10.4. Beethoven, Piano Sonata, Op. 7, Largo, con gran espressione

    CHAPTER 11: SONATA PRINCIPLE

    Assignments
    1.1. Mozart, String Quartet, K. 172, Adagio
    11.2. Clementi, Sonatina, Op. 36, No. 3, Spiritoso
    11.3. Mozart, Piano Sonata, K. 279, Andante

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