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A thorough introduction to harmony in common practice.
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Takes students from the fundamentals of harmony including harmony in common practice and some of the more important harmonic procedures of the 20th century.��
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With an emphasis on learning and understanding by doing, this text/workbook combination takes students from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. The approach is “additive” throughout, allowing students to use what was learned in one chapter to help comprehension of the materials in the next. This allows for minimum of memorization since students repeatedly use the concepts throughout the semester.
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Teaching and Learning Experience
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Personalize Learning-MySearchLab offers assests for further study, including research databases, information on how to write a research paper, and subject libraries.
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Improve Critical Thinking- Students learn that harmony may be understood as a continuum rather than a series of unrelated elements.
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Engage Students- Emphasis on comprehension of governing principles rather than memorization of rules.
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Understand Music- Provides students with immediate understanding of what the particular musical example is emphasizing and what harmonic principle the example reveals.
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Support Instructors- Supported by the best instructor resources on the market; MySearchLab, and an Instructor’s Manual.
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Note: MySearchLab does no come automatically packaged with this text. To purchase MySearchLab, please visit www. MySearchLab.com or you can purchase a valuepack of the text + MySearchLab (VP ISBN-10: 0205230172, VP ISBN-13:�9780205230174)
- Sales Rank: #390335 in Books
- Published on: 2011-08-07
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 10.80" h x .60" w x 8.40" l, 1.90 pounds
- Binding: Spiral-bound
- 432 pages
From the Publisher
With an emphasis on learning and understanding by doing, the text takes the student from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. The approach is "additive" throughout; to the extent that it is pedagogically feasible, the student uses what was learned in one chapter to help to comprehend the materials in the next.
From the Back Cover
Balancing theory and practice, this volume presents a four--part analysis of the basic components of harmony.
- Part One covers the rudiments of music theory, ensuring that students have a solid grasp of the fundamentals before going on to more advanced material.
- Parts Two and Three explore the principles of tertian harmony as they pertain to common practice, stressing learning by doing. After each new concept is introduced, several pages of carefully graduated exercises are presented.
- Part Four surveys the important harmonic procedures of the twentieth century. The author also emphasizes the exposition of theoretical procedures rather than focusing on individual composer's interpretations of them.
For additional reinforcement, teaching and learning aids include numerous musical examples, a note format that highlights important features in the examples, in-text drills and writing exercises, and Suggestions and Strategies to help students prepare for the exercises.
Parts Two, Three, and Four include analytical exercises cross-referenced with three major anthologies.
About the Author
Barbara Bennett is a Lecturer in the Department of Music at the University of California, Riverside, where she teaches a three-part series of classes on harmonic theory. A composer and pianist as well as a teacher, Dr. Bennett is active in the College Music Society and the National Association of Composers, USA (NACUSA), having served as an officer on both national boards. Besides harmony, she also teaches Advanced Music Fundamentals and Introduction to Western Music at UC Riverside. She earned her bachelor’s and master’s degrees in music at the University of Georgia, and her D. M. from The Florida State University.
Most helpful customer reviews
20 of 23 people found the following review helpful.
Unenthusiastic
By Dr. Christopher Coleman
I'm not as enthusiastic as the previous reviewer. I have taught music theory at all levels for 17 years, and while there is good material in Spencer's The Practice of Harmony, there is much that seems downright peculiar. If your theory professor assigns this book, of course you've got to use it; otherwise, much of the material is presented more clearly in other sources. The problems are twofold: reliance on standard theoretical concepts divorced from practice or context, and Spencer's attempt to either explain concepts in new ways or offer shortcuts in learning or remembering the concepts--it's a laudable effort, to be sure, but one which leads him astray.
Take, for example, this wonderfully abstruse line from his "Suggestions and Strategies" for learning triad quality: "If the root of a triad is natural and the fifth is flat, or if the root is sharp and the fifth is natural, or if the fifth is double-flat, the triad is diminished." (p. 69) All that may well be true, but if you've memorised that and still can't tell that the third of the chord is minor and the fifth is diminished, you have no recognition of what a diminished triad IS. There's quite a difference between naming and understanding, and Spencer ignores this.
Another and much more significant problem occurs with Spencer's explanation of the minor. Frankly, he doesn't seem to understand that there is not a "harmonic minor key" or a "natural minor key"--he does not use the terms, but in the section "Triads in Major and Minor Keys" (p. 68) he shows the triads first on C major, then on A minor (natural), a minor (harmonic), and a minor (melodic)--ascending only. Now, while there are SCALES in these various forms of the minor, they represent quite different things from the triads that are found in most common practice period music. Even triads built on the harmonic minor scale, with a triad of III+ (augmented) do not reflect the actual triads in most music--III is much more commonly found in the music as a major triad than as an augmented one, regardless of the theory. Minor is a complex situation, not easily explained; but a piece is in a minor mode which uses the various forms of minor--melodic for the melodies (mostly), harmonic for the harmonies (mostly, except III), and in Classical music, almost never natural--purely a theoretical construct because of the key signature linkage with the relative major. Natural minor in Classical music occurs as the descending form of the melodic minor. The real problem is that the minor scales are all theoretical constructs and not reflective of the music--the issue is how to handle scale degrees 6 and 7. To solve this, rather than address it directly, Spencer introduces yet another theoretical construct, the 'synthetic' minor scale, made up of a combination of all the other forms together. It's an appalling idea, one I've never seen elsewhere, and totally without context. Spencer would have been better served by introducing the minor mode in its own chapter, rather than trying to tack it on as an appendage to the major mode.
Lack of context lies at the heart of Spencer's approach, and to be fair this is true of far too many theory books. Instead of discussing the basis of functional harmony in the Classical Period, for example, we get the same tired "Primary Triads in Root Position". I'm of the firm belief that discussion function of chords--Dominant preparation for ii and IV, Dominant function for V and vii, Tonic for I and Tonic substitute for vi in major--is much more useful than listing all the "rules" of doublings, etc. Similarly, cadence types are named, but the functions of the various types are not described.
All in all, Spencer's approach in The Practice of Harmony is an odd combination of pretty standard pedantic theory and new, sometimes confusing approaches. Theory is really nothing by itself; without a musical context it is meaningless. Yet Spencer never attempts to provide such a context; indeed, he uses not a single example from actual music literature. You are better served elsewhere.
2 of 2 people found the following review helpful.
Very simple Language! pretty comprehensive! but not very deep
By Chekad Sarami
I am a mathemaician!! and I am studying this book along with two other books ( the shaping of music by Russel and Elementary harmony by Ottman) to hopefully write music!!
This book as the other reviewer said doesn't have exmples from literature but at the end of each chapter as exercises it referes you to designated pages from three other books that contain examples in literature. Here I should say the book covers the material in a rather easy language much easier! somehow more clear than other two books that I am reading!
In the book (page 261) says that borrowed chords are nearly always appear in the major key! while obviosly, in minor keys the chords: I ( picardy third) and ii, IV ( in melodic minor when 6 is raised) are not unusual.
I guess we have still a long way to see a good book in harmony. something real practical. But for now, i guess if you want to learn harmony by yourself you should read maybe several books!!
2 of 5 people found the following review helpful.
Very Good Book!
By A Customer
It is an excellent book of harmony.It has a great number of exercices.The only thing that i got worried about was the very FEW examples concerning the contents of the book, but if you read carefully you will understand what the author wanted to say!But i still wish the author included more examples of the contents , mainly about the Four-part writing. Anyway, i really enjoyed the book and i am learning a lot from it!
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