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Music in Theory and Practice, Volume 1 with Audio CD |  | Authors: Bruce Benward, Marilyn Saker
Publisher: McGraw-Hill Humanities/Social Sciences/Languages
Category: Book
Buy New: $68.42
as of 9/5/2010 12:13 CDT details
New (23) Used (13) from $65.00
Seller: Amazon.com
Rating:  2 reviews
Media: Spiral-bound
Edition: 8
Pages: 416
Number Of Items: 1
Shipping Weight (lbs): 1.8
Dimensions (in): 10.7 x 8.8 x 0.6
ISBN: 0077254945
Dewey Decimal Number: 781
EAN: 9780077254940
Availability: Usually ships in 24 hours
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Product Description
This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire.
The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
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| Customer Reviews:
 one of the best April 5, 2010
late bloomer
2 out of 2 found this review helpful
as someone who learned harmony from Arnold Schoenberg's 'Theory of Harmony' and other very good books like Macpherson's 'Melody and Harmony' , I have found this book excellent. It is a very well-rounded book for undergraduates students and musicians who want to increase their well-roundedness in general music composition, regardless of styles. It comes bundled with a fantastic audio resource and the book has other optional additions, all very useful, like workbooks.
Also, I liked it's approachability, and the really good point of this book is that it spans illustrations from antique folk songs to baroque ,classical and contemporary music as well as popular music, so you will find his material varied and kept interesting.
Usually, the material of books that try to mesh and explain all these different styles, are very weakly assembled. It's usually a mesh of things explained without real expertise. Basically,you can't illustrate classical music unless you know what you are talking about, because the classical approach needs a special training, and the books about 'classical and rock' who try to 'illustrate it all' are written by average people who know nothing about classical harmony and composition. But a classical composer can easily write in any style, it's just a matter for him to figure out why things sound the way they sound.
This book, has been written by such very good teachers with a large teaching experience on their shoulders, who can ALSO teach about contemporary music or any music style for that matter, and it's the best book I know in it's genre. Highly recommended.
 Impractical, Confusing for Students March 25, 2010
C. G. Stark (Fremont CA USA)
2 out of 3 found this review helpful
As a theorist, composer, and educator of advanced theoretical subjects, I found the book impractical for teaching purposes. The presentation and sequence of the theoretical materials could be better organized. Some concepts such as circle progressions and stylistic practice are impractical and does not teach proper techniques in harmonization and voice leading. Circle progressions can be easily explained as harmonic sequences. The book does not cover enough on rhythm and rests. There are errors in the 16th c counterpoint with a couple of examples containing major 6th intervals, which is not permitted in the style. No mention about 18th c. counterpoint. There are several other theoretical concepts I do not agree with that conflict with other well-known theory texts. Non-harmonic tones are not clearly defined and several are missing. I could understand why students are coming to me for help considering how difficult it is for them to interpret the ideas presented in this book. Not all the information is bad, but much can be presented in a much clearer and understandable way.
Harmony and Voice Leading
Harmony
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