Now available in paperback! Evolved from the author's widely used book, The Analysis of Music (Prentice-Hall, 1975; 2nd. ed. Scarecrow Press, 1984), Comprehensive Music Analysis is a guide for acquiring the tools of musical analysis, skills which are essential to every serious musician and musical scholar. The new volume presents material on Heinrich Schenker and reductive linear analysis and additional material on set theoretical analysis. White's theoretical writing is characterized by logic of methodology, clarity of organization, and lucidity of prose. It should be eagerly received by theorists seeking a comprehensive view of current methodology. White's approach to current theoretical dogma is not uncritical. As Gerald Warfield (General Editor of the recent English translation of Schenker's Der Freie Satz) says in his Preface to White's new book,"...we begin to glimpse a powerful tool which does not exist in any single school of theory or musicology, but which draws upon any and all nethodologies as required by the analyst. The opinions in this book are strong. Indeed, there is material which may disturb the dogmatic, yet the author's intentions are clear. White invites you to take your cue for analysis from the compositions themselves rather than from dogma." Replete with musical examples, charts, and diagrams, the book is more than a treatise on analysis, it is a valuable tool for the advanced student of music as well as the musical scholar.

This extremely practical introduction to musical analysis explores the factors that give unity and coherence to musical masterpieces. Having first identified and explained the most important analytical methods, Nicholas Cook examines given compositions from the last two hundred years to show how different analytical procedures suit different types of music.

Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition is a textbook for upper-level undergraduate and graduate courses in music analysis. It outlines a process of analyzing works in the Classical tradition by uncovering the construction of a piece of music—the formal, harmonic, rhythmic, and voice-leading organizations—as well as its unique features. It develops an in-depth approach that is applied to works by composers including Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The book begins with foundational chapters in music theory, starting with basic diatonic harmony and progressing rapidly to more advanced topics, such as phrase design, phrase expansion, and chromatic harmony. The second part contains analyses of complete musical works and movements. The text features over 150 musical examples, including numerous complete annotated scores. Suggested assignments at the end of each chapter guide students in their own musical analysis.

This book contains a complete and accurate mathematical treatment of the sounds of music with an emphasis on musical timbre. The book spans the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity, but is of sufficient utility to be adapted to many different tasks.

Presents material on Heinrich Schenker and reductive linear analysis and additional material on set theoretical analysis. Replete with musical examples, charts, and diagrams.

Throughout his career, David Lewin labored to make even the most abstract theory speak to the experience of the ordinary listener. This book combines many of Lewin's classic articles on song and opera with newly drafted chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt. Bound together by Lewin's cogent insight, the resulting collection constitutes a major statement concerning the methodological problems associated with interpretation of texted music.