The Musician’s Guide to Theory and Analysis is a complete package of theory and aural skills resources that covers every topic commonly taught in the undergraduate sequence. The package can be mixed and matched for every classroom, and with Norton’s new Know It? Show It! online pedagogy, students can watch video tutorials as they read the text, access formative online quizzes, and tackle workbook assignments in print or online. In its third edition, The Musician’s Guide retains the same student-friendly prose and emphasis on real music that has made it popular with professors and students alike.

Emphasizing real music and music-making, The Musician's Guide to Theory and Analysis gives students the hands-on tools they need to learn how music works. Theoretically current and pedagogically innovative, the Musician's Guide series uses the phrase model approach to show students how music works in context. With a focus on real music literature that students know and play, it shows how music theory relates directly to practice and performance. The Musician's Guide to Theory and Analysis includes all topics essential to first- and second-year theory for music majors, from fundamentals to post-tonal theory and analysis

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

Third in a series designed to expand the idea of music theory to points beyond the written page, to have students realize that the music they are performing, listening to, and composing evolves from the realm of music theory. Book 3 covers notes on the grand staff, rhythm, eighth notes, intervals, pentachords, and triads.

Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers's diverse survey of music theory?one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses?is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984. In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy. Rogers has organized the book very much like a sonata. Part one, ?Background,” delineates principal ideas and themes, acquaints readers with the author's views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, ?Thinking and Listening,” develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, ?Achieving Teaching Success,” recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum. Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.

Revisiting Music Theory: A Guide to the Practice contains the basics of music theory with the vocabulary used in harmonic and formal analysis. The book assumes few music reading skills, and progresses to include the basic materials of music from J. S. Bach to the twentieth century. Based on Blatter’s own three decades of teaching music theory, this book is aimed at a one or two year introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, time, and dynamics as represented in written music. Part 2 introduces the concept of melody, covering modes, scales, scale degrees, and melodic form. Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 addresses part writing and harmonic analysis. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Revisiting Music Theory will be a valuable textbook for students, professors, and professionals.

Reorganized and streamlined, the third edition of The Musician's Guide to Fundamentals features a new, laser focus on the core concepts of music fundamentals. The text features NEW online resources--including formative quizzes and a self-grading workbook--while retaining the Musician's Guide's emphasis on real music from Bach to Broadway, Mozart to Katy Perry.

This book presents the work of a group of scholars who, without seeking to impose an explicit redefinition of either theory or analysis, explore the limits of both.

This book is an introduction to GIS (Generalized Interval Systems) theory that includes the major results of pitch-class theory. It provides mathematicians with applications of group theory to music and music theorists with the essential connections between GIS theory and pitch-class theory. Many of the results in pitch-class theory are not addressed by David Lewin (such as power functions or the Common Tone Theorem for inversions). The book states those results and generalizes them to conform with GIS theory. Finally, it addresses recent criticisms leveled at pitch-class theory and suggests how they can be addressed in GIS theory.