W. W. Norton
1) Robert Gauldin, Harmonic Practice in Tonal Music (a text for the four-semester theory sequence; comes with workbook and CDs); 2) Samuel Adler, Sight Singing: Pitch, Interval, Rhythm, 2nd ed. (a text for the four-semester sight singing sequence, based on intervals and interval relationships): 3) Sol Berkowitz et al., A New Approach to Sight Singing. 4th ed. (a text for the four-semester sight singing sequence, based on tonal relationships); 4) Daniel Kazez, Rhythm Reading: Elementary Through Advanced Training, 2nd ed. (a text for the four-semester sight singing sequence, dealing with rhythm only). 5) The Norton CD-ROM Masterworks
Back to New Book Menu
After Beethoven: Imperatives of Originality in the Symphony Mark Evan Bonds Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy. Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light. January 6 1/4 x 9 1/4 41 musical examples 208 pp. ISBN 0-674-00855-3 (BONAFT) $35.00t Music
Bach and the Patterns of InventionLaurence Dreyfus In this major new interpretation of the music of J. S. Bach, we gain a striking picture of the composer as a unique critic of his age. By reading Bach's music "against the grain" of contemporaries such as Vivaldi and Telemann, Laurence Dreyfus explains how Bach's approach to musical invention in a variety of genres posed a fundamental challenge to Baroque aesthetics. "Invention"--the word Bach and his contemporaries used for the musical idea that is behind or that generates a composition--emerges as an invaluable key in Dreyfus's analysis. Looking at important pieces in a range of genres, including concertos, sonatas, fugues, and vocal works, he focuses on the fascinating construction of the invention, the core musical subject, and then shows how Bach disposes, elaborates, and decorates it in structuring his composition. Bach and the Patterns of Invention brings us fresh understanding of Bach's working methods, and how they differed from those of the other leading composers of his day. We also learn here about Bach's unusual appropriations of French and Italian styles--and about the elevation of various genres far above their conventional status. February 7x10 11 halftones, 73 musical examples 256 pp. ISBN 0-674-06005-9 (DREBAC) $45.00s Music
Back to New Book Menu
Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra Richard Taruskin "Taruskin's vast and detailed knowledge of Russian culture, music, and traditions provides an unparalleled background for this monumental study. . . . Taruskin lets us see Stravinsky in a global context, as we would a continent from the space shuttle-but he also gives us a microscopic view of details that is nothing less than Proustian in its nuances and shadings. . . . A simply incredible achievement!" -George Perle, author of The Listening Composer "What Fernand Braudel did for the Mediterranean, Richard Taruskin has done for Stravinsky's Russian Period." -David Schiff, author of The Music of Elliott Carter "This book will arouse great interest and attention, and also, to be sure, heated debate; but whatever one's reaction, no one will be able to ignore it. . . . I suspect it will, with a single blow (the word has been chosen carefully), establish Taruskin as the foremost scholar of twentieth-century music in the world."-Robert P. Morgan, author of Twentieth-Century Music "To my knowledge, no previous book has situated music-music subtly described and understood-within such a richly embroidered fabric of cultural and intellectual history. A landmark study, at once engaging, necessary, and compelling." -Joseph Horowitz, author of Wagner Nights: An American History This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturity-Petrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"-the professional appropriation of motifs and style characteristics from folk art-and how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed.
Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky. Richard Taruskin is Professor of Music at the University of California at Berkeley. His most recent books are Musorgsky: Eight Essays and an Epilogue (1993) and Text and Act: Essays on Music and Performance (1995). The University of California Press Publication Date: July 21, 1996 0-520-07099-2 $125.00 cloth until 6/30/96, $175.00 thereafter 1,800 pages in two-volume boxed set, 7 x 10", 187 b/w illustrations, 2 color plates, 623 music examples World rights except omit Europe, British Commonwealth except Canada
B�la Bart�k: Composition, Concepts, and Autograph SourcesL�szl� Somfai "This book is at the frontiers of Bart�k research. It presents a vast array of unknown material. Both the breadth and the depth of Somfai's approach is unique among source studies in twentieth-century music." -Reinhold Brinkmann, Harvard University This long-awaited, authoritative account of Bart�k's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For B�la Bart�k, composition often began with improvisation at the piano. L�szl� Somfai maintains that Bart�k composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role. These conclusions are the result of Somfai's three decades of work with Bart�k's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of Bart�k's compositions. Included as well are corrections preserved only on recordings of Bart�k's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of Bart�k, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on Bart�k and will assist performers in clarifying the problems of Bart�k notation. Moreover, it will be a model for future work on other major composers. L�szl� Somfai is the Director of the Bart�k Archives in Budapest and Professor of Musicology at the Liszt Academy of Music, Budapest. He has published books on Haydn, Bart�k, and Webern in German and Hungarian, and an English edition of The Keyboard Sonatas of Joseph Haydn (1995). The Ernest Bloch Lectures, 9 The University of Califonia Press Publication Date: May 7, 1996 0-520-08485-3 $60.00 cloth 340 pages, 7 x 10", 90 b/w illustrations, 84 music examples World rights
A View of Berg's Lulu through the Autograph SourcesPatricia Hall "Hall was the first to study this material whole and in such depth; the result of her study remains an important, and in many ways path-breaking, piece of work."-Douglas Jarman, author of The Music of Alban Berg After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding-the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. Patricia Hall is Assistant Professor of Music at the University of California, Santa Barbara. The University of California Press Publication Date: September 0-520-08819-0 $42.00x cloth 185 pages, 6 x 9", 47 b/w illustrations, 51 music examples World rights
Back to New Book Menu
Back to New Book Menu
 Music Theory Online (MTO) as a whole is Copyright � 1996, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
 Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR].
It was authored by [FULL NAME, EMAIL ADDRESS],
with whose written permission it is reprinted here.