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Music theory through musical theatre : putting it together /
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical fou...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Oxford ; New York :
Oxford University Press,
[2015]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Franceschina, John Charles, |d 1947- |e author. |1 https://id.oclc.org/worldcat/entity/E39PBJmDrmHmdJy8Wx7ywJwpyd | |
| 245 | 1 | 0 | |a Music theory through musical theatre : |b putting it together / |c John Franceschina. |
| 264 | 1 | |a Oxford ; |a New York : |b Oxford University Press, |c [2015] | |
| 264 | 4 | |c ©2015 | |
| 300 | |a 1 online resource : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover -- Music Theory through Musical Theatre Putting It Together -- Copyright -- Contents -- About theCompanion Website -- For Teachers -- For Students -- Part One THE LEAD SHEET -- 1 Basic Concepts for Reading, Writing, and Appreciating Music -- Pitch, Staff, Clef, and Ledger Lines -- Recognizing Pitches on the Piano Keyboard -- Accidentals: Sharps, Flats, and Naturals -- Double Sharps and Double Flats -- Notes and Rhythm -- Augmentation and Diminution -- Dots and Ties -- Rests -- Meter and Time Signature -- Simple Time Signatures -- Other Simple Time Signatures -- Compound Time Signatures -- Infrequently Used Time Signatures -- Tuplets -- Beaming -- Syncopation -- Musical Terms and Symbols -- Pickup Measures -- Repeat Signs -- Tempo Marks -- Articulations -- Dynamics -- Expression Marks -- 2 Major and Minor Scales -- Major Scales -- Key Signatures -- Identifying Major Scales -- Sight-Singing -- Minor Scales -- Writing Minor Scales -- Identifying Minor Scales -- Names of Scale Degrees -- The Circle of Fifths -- The Harmonic Minor Scale -- The Melodic Minor Scale -- Singing Minor Scales -- The Major-Minor Scale (Mode Mixture) -- Modal Shifts -- Performing Major and Minor Scales -- 3 Modes and Other Scales -- Modes -- "Minor" Modes -- Writing and Singing the "Minor" Modes -- The Locrian Mode -- "Major" Modes -- Writing and Singing the "Major" Modes -- Other Scales: Pentatonic, Whole-Tone, and Chromatic -- 4 Intervals -- Perfect Intervals -- Identifying the Qualitative Nature of Intervals -- Major Intervals -- Minor Intervals -- Diminished Intervals -- Augmented Intervals -- The Tritone -- Harmonic Intervals -- Inversions of Intervals -- Compound Intervals -- Consonance and Dissonance -- Review Quiz -- Unit Test 1 -- Part Two THE ARRANGEMENT -- 5 Triads, Seventh Chords, and Nonharmonic Tones -- Harmony with Chords -- Chord Tones. | |
| 505 | 8 | |a Inversions of Chords -- Singing Chords -- Seventh Chords -- Seventh Chord Inversions -- Singing Seventh Chords -- Nonchord Tones -- Neighbor Tones -- Passing Tones -- Suspensions and Retardations -- The Appoggiatura -- Escape Tones -- The Anticipation -- Changing Tones -- Pedal Tones -- Free Tones -- 6 Chord Progressions and Sixth Chords -- Numbering Chords in Major Scales with Roman Numerals -- Numbering Chords in Minor Scales with Roman Numerals -- Numbering Diatonic Seventh Chords with Roman Numerals -- Diatonic Chord Accompaniments -- Alternating Bass -- Chord Functionality -- Harmonic Movement -- Sight-Reading and Transposition -- Major and Minor Sixth Chords -- Review Quiz -- Unit Test 2 -- 7 Singing Counterpoint 1 -- Counterpoint and Polyphony -- Species Counterpoint -- First Species Counterpoint -- Dramatic Use of First Species Counterpoint -- Second Species Counterpoint -- Dramatic Use of Second Species Counterpoint -- 8 Singing Counterpoint 2 -- Third Species Counterpoint -- Dramatic Use of Third Species Counterpoint -- Fourth Species Counterpoint -- Dramatic Use of Fourth Species Counterpoint -- Fifth Species Counterpoint -- Dramatic Use of Fifth Species Counterpoint -- Fugue -- Review Quiz -- Unit Test 3 -- 9 Chromatically Altered Chords -- Secondary Dominants -- Secondary Functions of the Leading Tone Chord -- Common Tone Diminished Chords -- Passing Diminished Chords -- Neapolitan and Augmented Sixth Chords -- Mode Mixture -- 10 Song Form and Cadences -- Periods, Phrases, and Cadences -- The Authentic Cadence -- The Half Cadence -- The Plagal Cadence -- The Deceptive Cadence -- "Backdoor" Cadences -- 11 Modulation and Tonicization -- Modulation and Tonicization -- Direct Modulation -- Secondary Dominant Modulation -- Third Relation Modulation -- Pivot Tone (Common Tone) Modulation -- Common Chord Modulation. | |
| 505 | 8 | |a Diminished Seventh Chord Modulation -- Augmented Sixth Chord Modulation -- Tonicization -- 12 Upper-Embellished Chords -- Ninth, Eleventh, and Thirteenth Chords -- Dramatic Use of Upper-Embellished Chords -- "Sus" and "Add" Chords -- Dramatic Use of "Sus" and "Add" Chords -- Tone Groups -- Vertical (Harmonic) Tone Groups -- Horizontal (Melodic) Tone Groups -- Review Quiz -- Unit Test 4 -- Part Three THE PERFORMANCE -- 13 Analysis-George Gershwin and Richard Rodgers -- Music as Drama in Musical Theatre -- "Meadow Serenade" -- "Soon" -- "A Puzzlement" -- 14 Analysis-Leonard Bernstein and Stephen Sondheim -- "What a Waste" -- "I Love My Wife" -- "Take Care of This House" -- "With So Little to Be Sure Of" -- 15 Analysis-Andrew Lloyd Webber, William Finn, and Jason Robert Brown -- "The Beauty Underneath" -- "The Baseball Game" -- "It's Hard to Speak My Heart" -- Acknowledgments -- Alphabetical List of Musical Theatre Examples -- Bibliography -- Index. | |
| 520 | |a Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes. The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes. | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
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| 650 | 0 | |a Musical theater |x Instruction and study. | |
| 650 | 0 | |a Music theory. | |
| 650 | 6 | |a Théâtre musical |x Étude et enseignement. | |
| 650 | 6 | |a Théorie musicale. | |
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| 650 | 7 | |a MUSIC |x Lyrics. |2 bisacsh | |
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| 650 | 7 | |a Musical theater |x Instruction and study |2 fast | |
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| 776 | 0 | 8 | |i Print version: |a Franceschina, John Charles, 1947- |t Music theory through musical theatre |z 9780199999545 |w (DLC) 2014044728 |w (OCoLC)896359259 |
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