N O R T O N M U S I C BConcise Introduction to Tonal Harmony represents a new, concise approach to the tonal harmony textbook. Rather than a sprawling, encyclopedic compendium, this

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About NortonW. W. NORTON & COMPANY has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult-education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees.

Contents

MUSIC THEORY

4 NEW! Concise Introduction to Tonal Harmony / Burstein & Straus

10 NEW! The Musician’s Guide to Theory and Analysis, 3e / Clendinning & Marvin

16 Know it? Show it!

AURAL SKILLS

18 NEW! The Musician’s Guide to Aural Skills, 3e / Murphy, Phillips, Marvin, & Clendinning

20 A New Approach to Sight Singing, 5e / Berkowitz, Fontrier, Kraft, Goldstein, & Smaldone

21 Manual for Ear Training and Sight Singing / Karpinski

FUNDAMENTALS

22 The Musician’s Guide to Fundamentals, 2e / Clendinning, Marvin, & Phillips

POST-TONAL THEORY

24 NEW! Introduction to Post-Tonal Theory, 4e / Straus

ORCHESTRATION

26 NEW! The Study of Orchestration, 4e / Adler

28 Norton Listens

30 Trade Titles in Music

31 Ordering and Contact Information


MUSIC THEORY

Concise Introduction to Tonal HarmonyFIRST EDITION

L. POUNDIE BURSTEIN,

Hunter College and The Graduate Center, City University of New York

JOSEPH N. STRAUS, The Graduate Center, City University of New York

The music theory text that students read and understand

Decades of teaching experience combined with concise prose, carefully curated musical examples, and a robust, skill-sharpening media program illuminate music theory.

Master teachersIn decades of teaching, authors Poundie Burstein and Joe Straus have discovered that giving students time to master core concepts—the ones they’ll actually use—is more important than surveying every detail of tonal practice. They have applied that experience in writing this text, giving students time to focus on what they need to learn. Media authors Anna Gawboy and Inessa Bazayev discovered in their own classes how online resources can enhance student preparation and make class time more efficient, and their experience informs the book’s pathbreaking online pedagogy.

Unprecedented concisionAt only 375 pages, this is the first truly concise introduction to music theory. Every chapter consists of just a few pages, isolates a single part-writing issue, and illustrates common student mistakes, along with how to avoid them. Brief musical examples are carefully selected to illustrate key concepts, while extended versions of the examples are accessible in the ebook.

HARDCOVER 978-0-393-26476-0375 pagesOctober 2015

Pathbreaking mediaKnow It? Show It! online pedagogy guides students through every chapter. First, video tutorials highlight the harmonies discussed in the text and demonstrate voice-leading procedures needed to complete assignments. Then, formative assessment activities engage students with a game-like approach, challenging them to answer quiz questions until they’ve demonstrated mastery of a skill and guiding them with robust feedback that explains mistakes. Finally, students are ready to complete workbook exercsises either in print or online with Noteflight. For more on Know it? Show It! pedagogy, see p. 16.

Ultimate flexibility Short, modular chapters accommodate a variety of teaching and learning approaches, and chapters can be skipped or reordered to reflect different ways of organizing the theory sequence. A wealth of additional resources are also available online, from an ebook that includes Closer Look features exploring selected topics in greater depth and expanded musical examples to a database of additional teaching examples for every topic addressed in the text.

Concise Introduction to Tonal Harmony Workbook

Hundreds of exercises—more than enough for any one course—allow instructors the flexibility to construct assignments that meet their students’ needs. Every workbook chapter follows a similar organization and features questions for review, chord spelling exercises, Roman numeral and figured bass realizations, melody harmonization, composition activities, and analysis.

PAPERBACK / 978-0-393-28473-7 / Forthcoming January 2016

For instructors Concise Introduction to Tonal Harmony is supported by a workbook answer key, a musical example database that includes hundreds of examples for use in class, and Norton Coursepacks that bring Norton media into a campus LMS.


MUSIC THEORY

An Innovative ApproachConcise Introduction to Tonal Harmony represents a new, concise approach to the tonal harmony textbook. Rather than a sprawling, encyclopedic compendium, this is a guidebook to the most important things that students need to know.

I Each carefully crafted chapter is just a few pages long and isolates a particular harmony and the voice-leading issues associated with it. Students quickly grasp the essential concepts, and instructors have the flexibility to teach chapters in any order that works for them and their students.

Y Concepts are illustrated with short musical examples, carefully selected to illustrate the topic at hand. Annotations draw attention to key features of each example. Extended versions of examples, offering opportunities for additional study, appear in the ebook.

Y Musical examples provide models of correct usage, but they also anticipate mistakes, showing students common errors and how to avoid them.

Y An ebook, included with every new copy of the text, allows students to read on a wide variety of devices and listen to recordings of every musical example.

2 Every chapter ends with a Test Yourself activity, to ensure that students understand the concepts covered in the chapter.


MUSIC THEORY

Part One: Fundamentals 0 Notation of Pitch and Rhythm

1 Scales

2 Intervals

3 Triads and Seventh Chords

Part Two: Overview of Harmony and Voice Leading 4 Four-Part Harmony

5 Voice Leading

6 Harmonic Progression

7 Figuration and Embellishing Tones

8 Species Counterpoint

Part Three: Diatonic Harmony 9 I and V

10 The Dominant Seventh Chord: V7

11 I6 and V6

12 V 65 and V 4

2

13 V 43 and vii°6

14 Approaching the Dominant: IV, ii6, and ii 6

5

15 Embellishing V: Cadential 64

16 Leading to the Tonic: IV

17 The Leading-Tone Seventh Chord: vii°7

and viiø7

18 Approaching V: IV6, ii, ii7, and IV7

19 Multiple Functions: VI

20 Embellishing Tones in Four-Part Harmony

21 III and VII

22 Sequences

23 Other 64 chords

24 Other Embellishing Chords

Part Four: Chromatic Harmony 25 Applied Dominants of V

26 Other Applied Chords

27 Modulation to the Dominant Key

28 Modulation to Closely Related Keys

29 Modal Mixture

30 ♭ II6: The Neapolitan Sixth

31 Augmented Sixth Chords

32 Other Chords: Altered, Common-Tone, Chromatic, and Ninth Chords

33 Chromatic Sequences

34 Chromatic Modulation

Part Five: Form 35 Sentences and Other Phrase Types

36 Periods and Other Phrase Pairs

37 Binary Form

38 Ternary and Rondo Forms

39 Sonata Form

Contents

“The authors can’t be any clearer, and I don’t think the text can get any shorter.”—kyle adams, Indiana University

“This theory text meets its goal of being concise: the prose is succinct, the musical examples appropriate, and the workbook reinforces concepts covered in the textbook. In conjunction with online resources, Concise Introduction to Tonal Harmony accelerates the pedagogy of music theory into the 21st century by engaging adaptive technology.”—cynthia gonzales, Texas State University

“It is written by proven master teachers, and it shows.”—jan miyake, Oberlin Conservatory of Music

“This text is able to get to the heart of the matter of every topic of common-practice harmony typically taught in the undergraduate theory curriculum. It’s a compendium of all the nuggets of information that you hope your students will remember years after they’ve taken your course.”—daniel jenkins, University of South Carolina

“Two of our great thinkers in the area of tonal music have teamed up together to present the essentials of the topic for students. Their book summarizes the most important elements to build a solid foundation in tonal music.”—rebecca jemian, University of Louisville

“[This] is the textbook many music theory instructors have been waiting for. It provides concise explanations and clear, dynamic illustrations that will be refreshing for students and teachers alike.”—don traut, University of Arizona

“The text offers concise, visually clear explanations. It begins at a very basic level, which would make it appropriate for students coming in with varying levels of preparation.”—elizabeth kelly, Texas Woman’s University

“Concise Introduction to Tonal Harmony is an outstanding text that will give your students a clear understanding of everything they need to know about harmonic practices in music of the tonal era. The book has a wonderful practicality about its approach, which will be appreciated immensely by all who use it as a learning tool.”—neil flory, Jamestown Community College

“An excellent text, workbook, and series of supplementary materials that gets to the heart of the materials on tonal music. This text accurately reflects the way I teach theory now […] while stripping away the unnecessary details and confusion.”—zachary lyman, Pacific Lutheran University

“Everything you need. Nothing you don’t.” —brian chin, Seattle Pacific University

“The text is simple but effective. It covers all the basic topics of tonal theory in a focused way that students are likely to read and remember.”—benjamin r. levy, University of California, Santa Barbara

See what professors are saying about Concise Introduction to Tonal Harmony


MUSIC THEORY

The Musician’s Guide to Theory and AnalysisTHIRD EDITION

JANE PIPER CLENDINNING,

Florida State University College of Music

ELIZABETH WEST MARVIN,

Eastman School of Music

HARDCOVER 978-0-393-26305-3800 pagesJanuary 2016

Real music that engages students The Musician’s Guide to Theory and Analysis places music before theory. Every chapter begins with listening; theory flows from the music. The text and workbook feature a rich repertoire that students know and perform, including classical and popular music, and offer insights on how to apply theoretical concepts to performance. With the spiral-learning method, students revisit works as they progress through the book. Every time they encounter a composition, their understanding deepens.

More accessible than ever Streamlined, conversational prose offers an inviting introduction to music theory for all students. Chapters on form and twentieth-century music have been reorganized for a smoother pedagogical progression, and helpful in-text features such as Key Concepts and Summaries highlight the most important elements for students to retain. An abundance of self-grading Try it exercises in each chapter also offer ample opportunity for students to practice as they learn.

Flexible and integrated From fundamentals to form to twentieth-century theory, every topic commonly taught in the undergraduate theory sequence is addressed—eliminating the need for costly additional texts. An anthology includes over 100 scores—all recorded by musicians at the Eastman School of Music—offering plenty of opportunities for listening and analysis. Also available is The Musician’s Guide to Aural Skills (see p. 18), which provides complete coordination between written theory and aural skills. Instructors can mix and match resources to suit the needs of their program. The Musician’s Guide texts can also be customized for specialized classes, such as form and analysis or post-tonal theory.

The Musician’s Guide to Theory and Analysis Workbook

The Musician’s Guide to Theory and Analysis is accompanied by a workbook that includes a wide range of exercises, including drill-and-practice, melody harmonization, figured bass, composition, and analysis. Like the text, the workbook includes numerous real music examples and can be completed either in print or online.

The Musician’s Guide to Theory and Analysis Anthology

The anthology includes over 100 outstanding teaching pieces written between the seventeenth century and the present. These scores constitute the text’s core repertoire. Every anthology work has been recorded by musicians at the Eastman School of Music.

For InstructorsThe Musician’s Guide to Theory and Analysis is supported by a Workbook Teacher’s Edition—featuring solutions to all of the exercises—and Norton Coursepacks that bring Norton content into a campus LMS.

The most comprehensive and integrated music theory package available

A complete package of theory and aural skills resources, The Musician’s Guide series covers every topic commonly taught in the undergraduate theory sequence. The package can be mixed and matched for every classroom, and new Know It? Show It! online pedagogy prepares students for the workbook assignments. The Third Edition retains the same student-friendly prose and emphasis on real music that has made it popular with professors and students alike.

“It is . . . accessible to every music major in a conservatory or university setting and chock-full of practical musical insights. I have had more success teaching with this text than with any other.” —christopher doll, Rutgers University

“It is a complete undergraduate education in music theory, and then some, in one package.” —peter silberman, Ithaca College

A pathbreaking media program New Know It? Show It! online pedagogy prepares students for class and homework. First, video tutorials by Anna Gawboy illuminate key learning objectives and illustrate problems similar to those in the workbook. Formative quizzes by Philip Duker and Sarah Sarver challenge students with questions—many featuring musical notation—until they demonstrate the skills they’ll need to complete workbook assignments. Robust feedback points struggling students back to the book and tutorials. Finally, students can complete their workbook assignments either online or in print.


MUSIC THEORY

The most accessible theory textm Unlike other texts, The Musician’s Guide places music before theory. Every chapter begins with listening; theory flows from the music.

Nearly every example in the text and workbook have been recorded by performers at the Eastman School of Music. And in the ebook, recordings are only a click away, encouraging students to listen as they read.

A focus on real music engages students. The text and workbook feature a wide range of repertoire that students know and perform—including classical and popular music—for a range of instruments.

m Self-grading Try it exercises scattered throughout each chapter give students the opportunity to practice as they learn. The first exercise is always completed for students.

Y Student-friendly pedagogical elements such as Key Concept boxes and Summaries highlight the most important things for students to learn.

2 Finally, each chapter features Know It? Show It! pedagogy, which helps students to sharpen skills before they come to class or put pencil to paper (see p. 16).


MUSIC THEORY

Musician’s Guide resources can be mixed and matched for any theory class.

Workbook for The Musician’s Guide to Theory and Analysis

The Musician’s Guide to Theory and Analysis

Anthology for The Musician’s Guide to Theory and Analysis

Also available:The Musician’s Guide to Aural Skills

Volume 1: Sight-Singing

Volume 2: Ear-Training

Total Access—free with every new book—includes:An ebook

Online recordings of every anthology work and nearly every musical example in the text and workbook

Video tutorials

Formative quizzes, powered by InQuizitive

Online workbook, powered by Noteflight

Contents

Part I: Elements of Music 1 Pitch and Pitch Class

2 Simple Meters

3 Pitch Collections, Scales, and Major Keys

4 Compound Meters

5 Minor Keys and the Diatonic Modes

6 Intervals

7 Triads

8 Seventh Chords

9 Connecting Intervals in Note-to-Note Counterpoint

10 Melodic and Rhythmic Embellishment in Two-Voice Composition

Part II: Diatonic Harmony and Tonicization 11 Soprano and Bass Lines in Eighteenth-Century Style

12 The Basic Phrase in SATB Style

13 Dominant Sevenths, the Predominant Area, and Choral Harmonization

14 Expanding the Basic Phrase

15 New Cadence Types and Diatonic Root Progressions

16 Embellishing Tones

17 The vii°6, vii°7, viiø7, and Other Voice-Leading Chords

18 Phrase Structure and Motivic Analysis

19 Diatonic Sequences

20 Secondary Dominants and Leading- Tone Chords to V

21 Tonicizing Scale Degrees Other Than V

Part III: Chromatic Harmony and Form 22 Modulation to Closely Related Keys

23 Binary and Ternary Forms

24 Invention, Fugue, and Other Contrapuntal Genres

25 Variation

26 Modal Mixture

27 The Neapolitan Sixth and Augmented-Sixth Chords

28 Vocal Forms

29 Popular Music

30 Chromatic Harmony and Voice-Leading

31 Chromatic Modulation

32 Sonata, Sonatina, and Concerto

33 Rondo, Sonata-Rondo, and Large Ternary

Part IV: The Twentieth Century and Beyond 34 Modes, Scales, and Sets

35 Rhythm, Meter, and Form in the Early Twentieth-Century

36 Music Analysis with Sets

37 Sets and Set Classes

38 Ordered Segments, Serialism, and Twelve-Tone Composition

39 Rhythm, Meter, and Form after 1945

40 Recent Trends

For Anthology Contents see: WWNORTON.COM/BOOKS/MUSICIANS-GUIDE-TO-THEORY-AND-ANALYSIS


MUSIC THEORY

Know It? Show It! Know It? Show It! online pedagogy helps students develop skills in music theory before they attend class or put pencil to paper.

Finally, after they complete the InQuizitive activity, students will be fully prepared to tackle workbook exercises—either in print or online with Noteflight. First, video tutorials illuminate key

learning objectives, help students hear the harmonies discussed in the text, and demonstrate voice-leading principles.

InQuizitive includes a variety of question types, personalized so that students practice the skills on which they’re weakest. Robust feedback points struggling students back to the text and video tutorials.

Flexible Media That Fits Your CourseTotal Access makes the music and media easy to use however you teach your course. With Norton Coursepacks for Blackboard, Moodle, Canvas, D2L, and other learning-management systems, all Total Access resources can be deployed directly through your campus learning-management system.

One Code. Total Access.Included free with every new copy of Concise Introduction to Tonal Harmony and The Musician’s Guide to Theory and Analysis, Total Access unlocks all of the text’s digital resources, including an ebook with integrated media, recordings, video tutorials, formative assessment powered by InQuizitive, and an online workbook.

Then, formative

assessment activities —powered by InQuizitive—invite students to quiz to learn. Students answer questions until they’ve demonstrated mastery of a skill. Engaging, gamelike elements motivate students as they learn.

With Noteflight, Students can complete workbook assignments electronically and send assignments to their professor for paperless grading. Because Noteflight is cloud-based, students can complete assignments anywhere they have an internet connection. With Noteflight’s markup and sharing features, the workbook offers music theory students and instructors the best online homework solution available.



AURAL SKILLS

The Musician’s Guide to Aural SkillsTHIRD EDITION

PAUL MURPHY, Muhlenberg College

JOEL PHILLIPS, Westminster Choir College of Rider University

ELIZABETH WEST MARVIN, Eastman School of Music

JANE PIPER CLENDINNING, Florida State University College of Music

The best way to integrate music theory and aural skills just got better

In its Third Edition, The Musician’s Guide to Aural Skills has been thoroughly reorganized for ease of use. Chapters align with The Musician’s Guide to Theory and Analysis, and activities follow a clear sequence through each chapter. Connections to written theory are emphasized throughout, so that written theory and aural skills are mutually reinforcing.

“There is simply no other textbook on the market that compares with respect to the emphasis on real music, the scope, breadth, clarity, and integration with theory and keyboard skills.” —tim pack, University of Oregon

“It knits aural skills more closely to a complete musical fabric instead of it being a purely one-line melodic topic.” —rebecca jemian, University of Louisville

“The integration of written and aural skills texts is its greatest strength. To my knowledge, this is the only text that integrates the two areas to that extent.” —gary don, University of Wisconsin–Eau Claire

Comprehensive and easy to use The Musician’s Guide to Aural Skills consists of two volumes that can be used together or on their own, providing resources for the entire aural skills sequence, from fundamentals to post-tonal ear training. Together, the two volumes contain a complete aural skills program.

The sight-singing volume offers over 800 melodies, rhythms, keyboard exercises, and improvisation activities carefully sequenced to coordinate with the companion text, The Musician’s Guide to Theory and Analysis. Every chapter now begins with an outline of learning objectives, so that students know what concepts to focus on and instructors can easily locate exercises that develop a particular skill.

The ear-training volume includes hundreds of short, self-grading, Try it dictations that help students identify common gestures. Over 400 contextual-listening activities guide students through recordings of real music. An abundance of contextual-listening exercises—all tagged with learning objectives and difficulty level—give instructors the flexibility to select exactly the type of activities that their students need.

Emphasizes real music and music-making Aural skills are made relevant to students’ lives as musicians through a rich variety of classical, folk, and popular music, including works that students know and perform. The sight-singing text features a range of melodies from the literature, so that students learn from real repertoire, as well as improvisation and composition exercises. Contextual-listening exercises feature real music—recorded by real performers—so that students learn to take dictation from authentic musical contexts, rather than artificial exercises.

A flexible and integrated pedagogical programThe Musician’s Guide series is the only complete package that coordinates written theory and aural skills. Throughout the series, the presentation and ordering of topics correspond so that written theory and aural skills are mutually reinforcing. Instructors can mix and match the resources that are most appropriate for their written theory and aural skills classes.

For instructorsThe Musician’s Guide to Aural Skills is supported by an answer key that supplies solutions to the Contextual Listening exercises in Volume 2, a dictation manual that includes additional short melodies for in-class dictation practice, and Norton Coursepacks, which allow instructors to bring Norton content into a campus LMS.

Volume 1: Sight-Singing Spiral-bound978-0-393-26405-0450 pagesJuly 2016

Volume 2: Ear-TrainingSpiral-bound978-0-393-26406-7550 pagesJuly 2016


AURAL SKILLS

A New Approach to Sight SingingFIFTH EDITION

SOL BERKOWITZ,

Queens College, City University of New York

GABRIEL FONTRIER,


LEO KRAFT,


PERRY GOLDSTEIN, Stony Brook University

EDWARD SMALDONE,


Innovative and user-friendly, A New Approach to Sight Singing

uses original melodies composed by the authors for an ideal pedagogical progression

Widely used for over two decades, the book has an easy-to-use organization that instructors and students love. The Fifth Edition includes more exercises in twentieth- and twenty-first-century idioms, a section of unpitched rhythmic exercises, and a topical index that makes key concepts easy to find.

Original melodies composed expressly for the study of sight singingA New Approach to Sight Singing contains original melodies that are lyrical and instructive. Students encounter carefully graded concepts that systematically increase in difficulty to develop their sight-singing skills. And a selection of melodies from the literature offers additional opportunities for sight-singing practice.

Expanded treatment of twentieth- and twenty-first-century music New melodies throughout the text explore modern musical characteristics.

User-friendly organization separates melodies by level and typeThe book is divided into five chapters: melodies, rhythm, duets, sing-and-play, and melodies from the literature. Each chapter contains four sections, consistent with the typical design of a four-semester

SPIRAL-BOUND 978-0-393-91150-3 432 pages / 2011

Manual for Ear Training and Sight SingingGARY S. KARPINSKI,

University of Massachusetts, Amherst

A comprehensive, research-based curriculum in aural skills

Informed by Gary Karpinski’s groundbreaking research on music perception and his two decades of practical teaching experience, this innovative package systematically develops ear-training and sight-singing skills based on how students

learn. The Manual explains how to hear and understand the essential elements of tonal music by closely integrating aural skills with the basic concepts of music theory, such as sale degree, chord function, metric level, and rhythmic proportion. The companion Anthology provides 1,200 graded musical excerpts drawn from the literature. Carefully coordinated with the Manual, this comprehensive Anthology is flexible enough to support any aural skills curriculum or to be used alone as a sight-singing text.

Anthology for Sight Singing

The Anthology for Sight Singing offers more than 1,200 short musical excerpts from a diverse range of real music literature.

SPIRAL-BOUND 978-0-393-97382-2 / 480 pages / 2007

For InstructorsThe Instructor’s Dictation Manual includes solutions to all of the dictation exercises. The Instructor’s CD-ROM—which is also available online—makes it easy to search the anthology for the ideal melody.

SPIRAL-BOUND978-0-393-97663-2 432 pages / 2006


FUNDAMENTALS

The Musician’s Guide to FundamentalsSECOND EDITION

JANE PIPER CLENDINNING, Florida State University College of Music

ELIZABETH WEST MARVIN, Eastman School of Music

JOEL PHILLIPS, Westminster Choir College of Rider University

A hands-on approach to mastering the basics— in class and online

The Musician’s Guide to Fundamentals teaches the basics of music—listening, writing, and performing—using real music, from Bach to the Beatles, Broadway to the Black Eyed Peas. A unique, hands-on approach invites students to listen to music from day one as they learn to interpret musical notation and, eventually, to use it to compose songs of their own.

An active, hands-on approach engages students in listening to, writing, and performing musicMusic examples—accompanied by high-quality online recordings—introduce every concept in the text. A concise anthology of complete works provides opportunities for further listening. Every chapter begins with listening to music—fundamental concepts follow, once students are engaged.

The Musician’s Guide to Fundamentals includes ample opportunities for students to practice their skills, whether online or on paper. Noteflight, an intuitive, cloud-based notation program, allows students to complete and turn in assignments online, as well as to compose their own music.

Every chapter features opportunities for in-class or at-home performance, introducing students to practical musicianship. At the end of the course, students are ready to do what they’ve always dreamed of—perform music they’ve composed themselves.

PAPERBACK978-0-393-92388-9400 pages / 2014

LOOSE LEAF, THREE-HOLE PUNCH978-0-393-12433-0 400 pages / 2014

Teaches the basics with real musicThe Musician’s Guide to Fundamentals engages students with an eclectic repertoire of folk, classical, and popular music. The Second Edition features a wider variety of popular music excerpts, including excerpts from songs by the Beatles, the Black Eyed Peas, U2, Johnny Cash, Elvis Presley, Green Day, Billy Joel, Elton John, the Moody Blues, Whitney Houston, Taylor Swift, Stevie Wonder, and many more.

Thoughtful pedagogy shows students what they need to know and helps them remember itThroughout every chapter, Key Concept and Summary boxes highlight and summarize essential information. Another Way boxes offer alternative explanations for important ideas, recognizing that students learn in a variety of ways.

Total Access provides the resources students need for music fundamentalsEvery new copy of the Musician’s Guide to Fundamentals, whether in print or online, includes free access to a wealth of media resources, including an ebook, online versions of the worksheets powered by Noteflight, chapter and listening quizzes, and recordings of nearly every music example featuring performers from the Eastman School of Music.

For instructorsThe Musician’s Guide to Fundamentals is supported by an online Answer Key, including answers to all of the exercises in the text, and Norton Coursepacks, which bring Norton content into a campus LMS.


POST-TONAL THEORY

Introduction to Post-Tonal TheoryFOURTH EDITION

JOSEPH N. STRAUS,

The Graduate Center, City University of New York

The classic survey of post-tonal theory, retooled for a new generation

Now published by Norton, Introduction to Post-Tonal Theory has been thoroughly updated to reflect the latest developments in the field, offering more coverage of transformational theory and voice leading, as well as additional examples of recently composed music. Revisions to the Fourth Edition help students identify key theoretical points and guide them through the process of analysis—all at a better value than ever.

The definitive introduction to the fieldWritten by one of the most prominent theorists in the field, Introduction to Post-Tonal Theory is unmatched in presenting recent developments to students. The Fourth Edition includes enhanced coverage of transformational theory, voice leading, and the application of set theory to rhythm. Sharpens students’ analytical skillsThe Fourth Edition maintains the insightful analyses that concluded each chapter of previous editions, while new in-text score excerpts make the analyses even easier for students to grasp. Guided analysis exercises—consisting of a score excerpt and a series of bullet points that guide students to an analysis—encourage students to use the in-text analyses as models for their own work. These exercises are flexible and can be used for in-class discussion, short assignments, or longer analysis papers.

HARDCOVER978-0-393-93883-8275 pagesJanuary 2016

Superior pedagogy helps students understand a complex topic A rich variety of pedagogical features engage students and explain complex ideas with concision and clarity. New chapter openers help students see what is important, while new In-Brief boxes succinctly state significant ideas. Every chapter offers guided analysis, and theory exercises that give students the opportunity to apply the concepts discussed in the text. An appendix provides answers to selected exercises, giving students instant feedback on their work.

A robust repertoire to suit any post-tonal theory classAuthor Joseph Straus is renowned for his work on the Second Viennese School and Stravinsky, and the Fourth Edition illuminates classic teaching examples by these composers, in addition to the work of newer composers such as Adams, Carter, and Ligeti. The repertoire is also expanded with new examples by Ades, Dallapiccola, Davies, Mamlok, Saariaho, Schnittke, and Tower, bringing a wealth of new music into the post-tonal theory course. An exceptional valueThe Fourth Edition features a new, lower price, as well as an ebook option, offering students additional value.

Contents

1 Basic Concepts of Pitch and Interval

2 Pitch-Class Sets

3 Some Additional Properties and Relationships

4 Motive, Voice Leading, and Harmony

5 Centricity and Referential Pitch Collections

6 Basic Concepts of Twelve-Tone Music

For InstructorsThe Instructor’s Manual includes answers to all of the exercises in the text.


ORCHESTRATION

The Study of OrchestrationFOURTH EDITION

SAMUEL ADLER, Emeritus of the Eastman School of Music and The Juilliard School

The book that set the standard for orchestration textsWritten by a renowned composer whose works have been performed by major

orchestras around the world, The Study of Orchestration is the only text that explores the characteristics of orchestral instruments and shows students how a master composer approaches orchestration. The Fourth Edition offers expanded coverage of writing for band and invites students to experience the instruments through online audio and video recordings.

The only text that invites students to listenComprehensive audio and video recordings—featuring musicians at the Eastman School of Music—illuminate the techniques students encounter in the text. Access to these recordings is included with each new copy of the text at no additional cost. The most comprehensive introduction to orchestral instruments and techniquesThe Study of Orchestration offers a masterful overview of every instrument and its techniques, a reference that students will use every time they arrange or compose. Every technique is illustrated with examples from the literature, and a groundbreaking audio and video package allows students to hear and see every instrument. This edition also offers completely updated coverage of percussion instruments and a brand new section on the accordion.

HARDCOVER978-0-393-92065-9 800 pages January 2016

The only text that shows students how to write for band and orchestraThe Study of Orchestration is the only text that connects information about instruments to what students do as composers and arrangers. This new edition offers additional coverage of music for wind ensemble, while Orchestration in Action sections at the end of every chapter feature master composer and teacher Samuel Adler presenting his own compositions and demonstrating how to orchestrate. The best opportunities to practice orchestration A robust media package provides students with a variety of review and self-assessment opportunities. More simple assignments are accessible to students with a range of skill levels, and the workbook offers abundant material for any orchestration class, so instructors can select the exercises that best suit their students’ needs.

The Study of Orchestration Workbook

The Study of Orchestration Workbook features a rich variety of exercises—many new to this edition—for any orchestration class. Test Yourself activities test factual information presented in the text, Worksheets offer opportunities to practice orchestrating short passages, and Listen and Score activities challenge students to identify and notate instrumentation aurally.

PAPERBACK 978-0-393-28317-4 / Forthcoming March 2016

For InstructorsThe Instructor’s Manual includes solutions to the workbook exercises and Samuel Adler’s plans for a variety of orchestration classes. Norton Coursepacks allow instructors to bring Norton content into a campus LMS.

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Norton ListensNorton has long been the preeminent publisher in music because we take the needs of professors and students seriously. Thank you for sharing your thoughts with us.

Your feedback helped shape The Musician’s Guide to Theory and Analysis through three editions, sharpening its emphasis on real music and improving its student-friendly prose. And because you told us you wanted a concise theory text, we now offer Concise Introduction to Tonal Harmony, the shortest and most up-to-date introduction to music theory available.

We learned from you that you needed online resources for your theory class and responded by developing our pathbreaking new Know It? Show It! pedagogy, featuring video tutorials, powerful adaptive quizzes, and online workbooks.

What works for your class? And what other resources do you need? Join the conversation!

What do you want your students to remember about your music theory course five years from now?

“I would like them to use theoretical and analytical concepts to hear and understand more about music encountered in their everyday lives.”

—jane piper clendinning, Author of The Musician’s Guide

“I hope students will remember the MUSIC in our courses, just as much as the music theory! We chose pieces we know and love and hope our students will love them too.” —betsy marvin, Author of The Musician’s Guide “Harmony can be understood as involving motions between chords and their tones, along with the manipulation of their perceived tendencies.” —poundie burstein, Author of Concise Introduction to Tonal Harmony

“I want students to remember some of the richness, complexity, and expressive subtlety of harmony, voice leading, and form in the music they play and listen to.” —joe straus, Author of Concise Introduction to Tonal Harmony

“Ideally, they’d recall that initial joy of learning how music works, how meaningful this is to them, how satisfying real listening can be.” —paul murphy, Author of The Musician’s Guide to Aural Skills

“I’d like my students to take one aspect of my theory course to propel their careers forward.” —inessa bazayev, Media Author “I became a better musician and teacher through learning to hear and read music better.” —gary karpinski, Author of Manual for Ear Training and Sight Singing

“Five years from now I hope my students will laugh at their former selves who thought play and sing was such a challenge!” —edward smaldone, Aaron Copland School of Music

“I hope students in my musicianship courses remember the supportive environment in which they learned and go into every musical situation, as players and listeners, with more acute ears after their training.” —perry goldstein, Stony Brook University

We want to hear from you!

What do you want your students to remember about your music theory course five years from now? Tweet us your response @wwnmusic.

Follow us on Twitter@WWNMUSIC

Stay informed about our latest books, see media in action, and get ideas for your class by following Norton Music on Twitter. This fall and spring, Norton Music on Twitter will feature Twitter takeovers by music theory professors, who will tweet about what they’re doing in class.

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Trade Titles in Music

Words Without Music: A MemoirPHILIP GLASS

A world-renowned composer of symphonies, operas, and film scores, Philip Glass crafted the dominant sound of late-twentieth-century classical music. In Words Without Music, he creates an entirely new and unexpected voice, that of a born storyteller and insightful chronicler, whose recollections allow readers to experience those moments of creative fusion when life so magically merged with art.

HARDCOVER 978-0-87140-438-1 / 432 pages / 2015

Beethoven’s Symphonies: An Artistic VisionLEWIS LOCKWOOD

This compelling book introduces each of Beethoven’s symphonies as an individual artwork. In concise chapters, Lockwood uncovers a creative process of remarkable scope and originality. From the first symphonies, written during Beethoven’s emerging deafness, to the monumental Ninth, his lifelong passion to compose works of transcendent aesthetic and moral value is brought vividly to life.

HARDCOVER 978-0-393-07644-8 / 320 pages / Forthcoming October 2015

Capturing Music: The Story of NotationTHOMAS FORREST KELLY

Welcome to the lively and complex world of monks and monasteries—where the only way to share even the simplest song was to learn it by rote. With clarity and wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined.

HARDCOVER 978-0-393-06496-4 / 256 pages / 2014

The Song Machine: Inside the Hit FactoryJOHN SEABROOK

From New York to Los Angeles, Stockholm to Korea, John Seabrook visits specialized teams composing songs in digital labs and traces the growth of contagious hits from their origins in early ’90s Sweden to their ubiquity on today’s charts. Featuring the stories of Katy Perry, Britney Spears, and Rihanna, as well as expert songsmiths like Max Martin, Ester Dean, and Dr. Luke, The Song Machine will change the way you listen to music.

HARDCOVER 978-0-393-24192-1 / 288 pages / Forthcoming October 2015

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N O R T O N M U S I C BConcise Introduction to Tonal Harmony represents a new, concise approach to the tonal harmony textbook. Rather than a sprawling, encyclopedic compendium, this