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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.
- Sales Rank: #6656452 in Books
- Brand: Brand: Routledge
- Published on: 2012-04-17
- Original language: English
- Number of items: 1
- Dimensions: .90" h x 8.50" w x 11.00" l, 2.46 pounds
- Binding: Hardcover
- 384 pages
- Used Book in Good Condition
About the Author
David Beach has taught music theory for over forty years at Yale University, the Eastman School of Music, and the University of Toronto.
Ryan McClelland is Associate Professor of Music Theory at the University of Toronto.
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0 of 0 people found the following review helpful.
Clear and Credible Sonata Analysis
By frankp93
I received a free item to review.
Many ‘form and analysis’ texts covering 18th and 19th century territory do an admirable job on smaller binary and ternary forms, rondo, and variations. Yet they often give short shrift to the venerable though sometimes inscrutable sonata-allegro. Understandable perhaps, as the form channels musical thought in a manner more psychological than schematic. While a minuet of Mozart and one of late Brahms might easily share the same conceptual space, opening sonata movements by the same composers can reveal a vast sea of difference (or do they?).
With so much of the workings and structural tendencies of common practice tonal harmony laid bare by many decades of study, it seems reasonable for analysis students to expect some clarity regarding what is arguably music’s high conceptual achievement of both the Classical and Romantic eras.
And fortunately Beach and McClelland attempt precisely that here. ‘Analysis of 18th and 19th Century Musical Works in the Classical Tradition’ takes on close to a dozen complete sonata movements of Mozart, Beethoven, Schubert and Brahms – along with other works and excerpts of Bach, Haydn, Chopin and Schumann in this especially clear and accessible intro to analysis text.
The nearly 30 page ‘review’ of diatonic harmony is not a substitute for dedicated harmony instruction. It serves more to orient the student towards the authors’ Schenkerian viewpoint regarding hierarchical score elements and harmonic function in the service of musical phrases. The authors have (I think wisely) chosen to abide by the spirit of Schenker’s structural ideas and spare readers the graphical analysis baggage - save some reduction diagrams in the early chapters.
The book is broadly divided into two parts: ‘Principles of Harmony and Phrase Design’ will be very familiar to anyone familiar with Schenker’s own harmony text, yet still very readable for anyone with a year or so of basic harmony under their belt. The discussion of ‘hypermeter’ – meter that operates above the level of the notated meter – is particularly interesting here as it’s a topic I encountered more often in 20th century theory texts that mirror the evolution of rhythm itself as a more dominant musical element.
After the first part of the book lays the structural groundwork and supplies tools for recognizing elaborated phrases and the extended harmonic palette, the second part of the book contains detailed analyses of selected works. The scores themselves are annotated with text (i.e. ‘Thematic Return’, ‘syncopation (at hypermetric level)’) as well as figured base with occasional drawn lines between systems designating pitch relationships across registers. The accompanying text illustrates points in the common sentence-by-sentence ‘dense’ style of analytical writing that’ll have readers turning back and forth from score to text – there’s really no more effective way to communicate this material in book form.
The closest similar texts I’m familiar with would be Caplin’s ‘Classical Form’ and particularly ‘Analyzing Classical Form – An Approach for the Classroom’ As much as I enjoyed and learned from those, Beach and McClelland’s book feels more practical and accommodating to readers with less analytical background to start.
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