• RRP: £170.57
  • You Save: £104.49 (61%)
FREE Delivery in the UK.
In stock.
Dispatched from and sold by Amazon. Gift-wrap available.
Quantity:1
Anthology for Musical Ana... has been added to your Basket
Condition: Used: Good
Comment: Item in original packaging. Packaging will have cosmetic damage. All purchases eligible for Amazon customer service and a 30-day return policy.
Have one to sell?
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

Anthology for Musical Analysis Spiral-bound – 15 May 2011


See all formats and editions Hide other formats and editions
Amazon Price
New from Used from
Spiral-bound, 15 May 2011
£66.08
£66.08 £56.27

Great Discounts
Shop the Books Outlet. Discover some great deals on top titles. Shop now
£66.08 FREE Delivery in the UK. In stock. Dispatched from and sold by Amazon. Gift-wrap available.
click to open popover

Special Offers and Product Promotions

Enter your mobile number below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
Getting the download link through email is temporarily not available. Please check back later.

  • Apple
  • Android
  • Windows Phone

To get the free app, enter your mobile phone number.




Product details

Product Description

Review

Part I: MEDIEVAL AND RENAISSANCE COMPOSITION. Introduction. Examples of Plainchant. Kyrie from Mass XIII. Tone for the Benedicamus Domino. Hymn to St. John the Baptist. Hymn for Lauds, December 25. Antiphon for Vespers, 3rd Sunday of Advent. Gloria Patri for the Introit of the Mass. Hildegard of Bingen. Excerpts from Ordo Virtutum (morality play). Guillaume de Machaut. De bon espoir. Puisque la douce rosee. Speravi (isorhythmic motet). Guillaume Dufay. Communio from Missa Sancti Jacobi (fauxbourdon). Josquin Desprez. Tu pauperum refugium (motet). Baises moy (double canon). Giovanni Pierluigi da Palestrina. Sanctus and Benedictus from Missa Aeterna Christi Munera. Roland de Lassus. Three Duos. 2-Beatus homo. 5-Expectatio justorum. 12-Sicut rosa. Examples of Stock Basses (late sixteenth century). Claude Gervaise. Pavane Passamaize. Jacomo Gorzanis. Passamezzo and Saltarello (dance pair). Greensleeves. Thomas Morley. Now is the Month of Maying (ballet). Carlo Gesualdo. Moro lasso al mio duolo (madrigal). Part II: BAROQUE COMPOSITIONS. Introduction. Claudio Monteverdi, 1567-1643. "Cruda Amarilli" from The Fifth Book of Madrigals. Giacomo Carissimi, 1605-74. The Daughter's Lament from Jephte. Arcangelo Corelli, 1653-1713. Adagio and Allegro from Violin Sonata, Op. 5, No. 1. Allemanda from Trio Sonata, Op. 4, No. 11. Henry Purcell, ca. 1659-1695. Dido's Lament from Dido and Aeneas. Johann Caspar Ferdinand Fischer, ca. 1665-1746. Prelude and Fugue No. 6 in E Phrygian from Ariadne musica. Francois Couperin, 1668-1733. Les Moissonneurs from Pieces de Clavecin, Ordre VI. Notebook for Anna Magdalena Bach (1725). Four Pieces. March. Minuet. Aria. Polonaise. George Frideric Handel, 1685-1759. Concerto Grosso in B minor, Op. 6, No. 12 (in score). Largo. Allegro. Chaconne in G Major from Trois Lecons. Recitative: "Thy rebuke hath broken his heart" from Messiah. Aria: "Where'er you walk" from Semele. Johann Sebastian Bach, 1685-1750. Allemande from French Suite No. 6 in E major. Gavottes I and II from English Suite No. 3 in G minor. Bourree I and II from Suite No. 3 in C major for Violoncello Solo. Sarabande and Double from Partita No. 1 in B minor for Violin Solo. Two Inventions. No. 4 in D minor. No. 12 in A major. Preludes and Fugues from The Well-Tempered Clavier. from Book I. Prelude 1 in C major. Fugue 2 in C minor. Fugue 11 in F major. Fugue 16 in G minor. Fugue 21 in B-flat major. from Book II. Fugue 16 in G minor. Contrapunctus VII from The Art of Fugue. Four Canons from The Musical Offering. Crucifixus from Mass in B minor. O Gott, du frommer Gott (chorale variation). Three Chorale Preludes. Gott, durch deine Gute from Orgelbuchlein. Durch Adam's Fall ist ganz verderbt from Orgelbuchlein. Wachet auf, ruft uns die Stimme from Schubler Chorales. Domenico Scarlatti, 1685-1757. Sonata in D major, K. 96 (Longo 465). Part III: CLASSICAL COMPOSITIONS. Introduction. Joseph Haydn, 1732-1809. Piano Sonata No. 36 in C-sharp minor, first movement. Piano Sonata No. 37 in D major, third movement. Piano Sonata No. 3 in C major, third movement. String Quartet in G minor, Op. 74, No. 3, second movement. Symphony No. 101 in D major, third and fourth movements (in score). Muzio Clementi, 1752-1832. Sonatina in G major, Op. 36, No. 2, first movement. Wolfgang Amadeus Mozart, 1756-1791. Theme with Variations from Piano Sonata in D major, K. 284. Piano Sonata in B-flat major, K. 333. Allegro. Andante cantabile. Allegretto grazioso. Sonata for Piano and Violin in B-flat major, K. 378, first movement. Menuet and Trio from Serenade in C minor, K. 388 (in score). Fantasia in C minor, K. 475. "La ci darem la mano" from Don Giovanni, K. 527. The Bird-Catcher's Song from The Magic Flute, K. 620. Clarinet Concerto in A major, K. 622, first movement (in score). Kyrie from Requiem, K. 626. Ludwig van Beethoven, 1770-1827. Piano Sonata No. 1 in F minor, Op. 2, No. 1, first and third movements. Piano Sonata No. 4 in E flat major, Op. 7, second movement. Piano Sonata No. 5 in C minor, Op. 10, No. 1, second movement. Piano Sonata No. 8 in C minor, Op. 13 ("Pathetique"). Grave. Allegro di molto e con brio. Adagio cantabile. Allegro. Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement. Piano Sonata No. 15 in D major, Op. 28, third movement. Piano Sonata No. 21 in C major ("Waldstein"), Op. 53, first movement. String Quartet in F minor, Op. 95, first movement. Piano Sonata No. 30 in E major, Op. 109, first movement. Part IV: ROMANTIC COMPOSITIONS. Introduction. Carl Friedrich Zelter, 1758-1832. "Der Konig in Thule". Franz Schubert, 1797-1828. Four Lieder. "Erster Verlust". "Thranenregen" from Die schone Mullerin. "Erlkonig". "Der Doppelganger". Two Piano Pieces. Waltz in A flat major, Op. 9, No. 2. Moment Musical in A flat major, Op. 94, No. 6. Fanny Mendelssohn Hensel, 1805-1847. "O Herbst" (a cappella chorus). Felix Mendelssohn, 1809-1847. Song Without Words, Op. 19b, No. 1. Robert Schumann, 1810-1856. Two Pieces from Phantasiestucke, Op. 12. "Des Abends". "Warum?". "Ich grolle nicht" from Dichterliebe, Op. 48. Six Pieces from Album for the Young, Op. 68. 1-Melody. 3-Humming Song. 6-Poor Orphan Child. 8-Wild Rider. 14-Little Etude. 17-Little Morning Wanderer. Frederic Chopin, 1810-1849. Six Preludes from Op. 28. No. 1 in C major. No. 4 in E minor. No. 6 in B minor. No. 9 in E major. No. 17 in A-flat major. No. 20 in C minor. Four Mazurkas. No. 5 in B flat major, Op. 7, No. 1. No. 6 in A minor, Op. 7, No. 2. No. 37 in A flat major, Op. 59, No. 2. No. 49 in F minor, Op. posth. 68, No. 4. Nocturne in D flat major, Op. 27, No. 2. Richard Wagner, 1813-1883. Prelude to Act I from Tristan und Isolde. Giuseppe Verdi, 1813-1901. Recitative and Duet (Rigoletto-Sparafucile) from Rigoletto. Clara Schumann, 1819-1896. Andante espressivo from Quatre Pieces fugitives, Op. 15. Cesar Franck, 1822-1890. Moderato from Chorale No. 1 in E major for organ. Johannes Brahms, 1833-1897. "Wie Melodien zieht es mir," Op. 105, No. 1. Nos. 1, 2, 9, and 10 from Waltzes, Op. 39. Two Intermezzos. Intermezzo in A minor, Op. 76, No. 7. Intermezzo in A major, Op. 118, No. 2. Sonata in F minor for Clarinet and Piano, Op. 120, No. 1, first movement. Gabriel Faure, 1845-1924. "Prison," Op. 83, No. 1 (1894). Hugo Wolf, 1860-1903. Two Songs. "Das verlassene Magdlein". "In der Fruhe". Gustav Mahler, 1860-1911. Adagietto from Symphony No. 5 (score). Richard Strauss, 1864-1949. "Ruhe, meine Seele," Op. 27, No. 1. Amy Beach, 1867-1944. "Dark is the Night," from Three Songs, Op. 11. Part V: MODERNISM. Introduction. Claude Debussy, 1862-1918. Prelude a "L'Apres-midi d'un faune". La cathedrale engloutie, from Preludes, Book I. Feuilles mortes, from Preludes, Book II. Alexander Skryabin, 1872-1915. No. 4 of Five Preludes, Op. 74. Arnold Schoenberg, 1874-1951. "Traumleben," Op. 6, No. 1. No. 1 of Three Piano Pieces, Op. 11. "Nacht" (passacaglia) from Pierrot lunaire, Op. 21. Piano Piece, Op. 33a. Charles Ives, 1874-1951. "The Cage". Maurice Ravel, 1875-1937. Sonatine, first movement. Bela Bartok, 1881-1945. Three Pieces from Mikrokosmos: Bulgarian Rhythm, Syncopation, Diminished Fifth. Music for String Instruments, Percussion, and Celesta, first movement (score). Igor Stravinsky, 1882-1971. Le sacre du printemps, Introduction to Part II. Theme and Variations A, B, and C from Octet for Wind Instruments, second movement. Symphony of Psalms, first movement (vocal score). Pas-de-Quatre and Coda from Agon. Anton Webern, 1883-1945. Five Movements for String Quartet, Op. 5, fourth movement. "Wie bin ich froh!" No. 1 of Drei Lieder, Op. 25. Variations for Piano, Op. 27, second movement. Edgard Varese, 1883-1965. Octandre, first movement. Alban Berg, 1885-1935. "Schlafend tragt man mich" from Vier Lieder, Op. 2. Lyric Suite for string quartet, first movement. Sergei Prokofiev, 1891-1953. Two pieces from Visions fugitives, Op. 22. No. 16. No. 18. Paul Hindemith, 1895-1963. "A Swan" from Six Chansons. Fuga prima in C from Ludus Tonalis. Aaron Copland, 1900-1990. Piano Variations, Theme and Variations 1-7. Ruth Crawford Seeger, 1901-1953. String Quartet 1931, third movement. Luigi Dallapiccola, 1904-1975. Quartina from Quaderno musicale di Annalibera. Dmitri Shostakovich, 1906-1975. "Ophelia's Song" from Suite on Poems by A. Blok, Op. 127. Miriam Gideon, 1906-1996. "The Shooting Starres Attend Thee" from The Shooting Starres Attend Thee (song cycle). Olivier Messiaen, 1908-1992. Liturgie de cristal, first movement of Quatuor pour la fin du temps. Elliott Carter, b. 1908. Canaries, No. 7 from Eight Pieces for Four Timpani. Fratribute for piano. Milton Babbitt, b. 1916. "The Widow's Lament in Springtime". Part VI: BEYOND MODERNISM. Introduction. Astor Piazzola, 1921-1992. No. 6 of Six Tango Etudes, for solo flute. Gyorgy Ligeti, 1923-2006. Galamb Borong, from Etudes pour piano, deuxieme livre. Gyorgy Kurtag, b. 1926. Officium breve in memoriam Andreae Szervansky (excerpts), Op. 28, for string quartet. Terry Riley, b. 1935. In C. Steve Reich, b. 1936. Clapping Music for two performers. John Harbison, b. 1938. Variations I-VI, from Variations for clarinet in A, violin, and piano. Joan Tower, b. 1938. Wild Purple (excerpt), for solo viola. Ellen Taaffe Zwilich, b. 1939. String Quartet No. 2, second movement. Fred Lerdahl, b. 1943. First String Quartet, Variations I-X. John Adams, b. 1947. "This is Prophetic" from Nixon in China. Kaija Saariaho, b. 1952. "Attente" from Quatre Instants. --This text refers to an alternate Spiral-bound edition.

About the Author

Charles Burkhart is an internationally recognized scholar in Schenkerian analysis, a pianist, and the author of ANTHOLOGY FOR MUSICAL ANALYSIS. He is also co-author of A NEW APPROACH TO KEYBOARD HARMONY and author of articles and reviews in The Music Review, Perspectives of New Music, Journal of Music Theory, and The Music Forum.

William Rothstein first joined Charles Burkhart as co-author of ANTHOLOGY FOR MUSICAL ANALYSIS in its Postmodern Update, Sixth Edition. Dr. Rothstein is a professor of theory/analysis at Queens College and the Graduate Center. In addition to his book, PHRASE RHYTHM IN TONAL MUSIC, which received an ASCAP-Deems Taylor Award and the Society for Music Theory's Young Scholar Award, Dr. Rothstein has published numerous articles.


What Other Items Do Customers Buy After Viewing This Item?

Customer Reviews

There are no customer reviews yet on Amazon.co.uk.
5 star
4 star
3 star
2 star
1 star

Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x982f496c) out of 5 stars 23 reviews
25 of 27 people found the following review helpful
HASH(0x97bb2948) out of 5 stars THE basic music companion 22 Dec. 1999
By Ross Litman - Published on Amazon.com
Format: Spiral-bound
Dr. Burkhart has compiled a marvelous compendium of approachable music for analysis -- particularly of "common practice period" examples. In addition, he includes works, in increasing difficulty in that they start to lead away from various conventions of our Western ears' expectations. In sample or example, Burkhart leads us from Baroque tonality to the start of atonality through Wagner's "Tristan und Isole" and beyond. The scores are large enough to include easy reading (much "white" around the notes). The newer paper is more receptive to pencil marking. In addition, the binding has been improved since ? This is a must for the "classical" listener who reads music. It is a great companion for any analysis or form class.
14 of 15 people found the following review helpful
HASH(0x97bb0d20) out of 5 stars Recommended Anthology 27 Oct. 2005
By A. Castor - Published on Amazon.com
Format: Spiral-bound
I'm a student at the Peabody Conservatory, so I've used music anthologies for a few years now and I've found that Burkhart's Anthology for Musical Analysis (6th edition) is a praiseworthy version. Some comments from a student's point of view: the book is well organized, with relevant examples (including orchestral scores) and informative introductions to each of the five sections as well as to each musical example; the examples are easy to read and to mark up; it is spiral bound and, while easy to page through, is loose and rather heavy, making it a bit cumbersome to carry to class; my biggest complaint is about its exorbitant price-I don't know why these no-frills music books have to be so costly. But if you are looking for a good anthology and are willing to pay, Burkhart's is a terrific choice. Extra benefits include: two appendices, one with Jazz harmony and one with chorale harmonizations; translations of foreign terms; and two good indexes, one general and one of chords, sequences, and modulations.
10 of 11 people found the following review helpful
HASH(0x97bb02e8) out of 5 stars Terrific collection of pieces for study 19 Nov. 2005
By Craig Matteson - Published on Amazon.com
Format: Spiral-bound
Of course, every piece of music can be analyzed and discussed. The problem for the teacher is to find pieces that will yield useful principles for students to learn through their early studies in form, harmony, and voice leading. Ideally, the pieces will be representative of the music of their period and of the principles under discussion. It really does the student no good to study a piece that is unique in the way it handles the principle being studied. On the other hand, the student must be able to discover the form, or harmonic example, or voice leading with the skills they are developing. So, the selection cannot be too sophisticated for its audience nor should the piece yield its treasure too easily. The student should have to work a bit in order to develop their analytic abilities.

This collection of pieces for study has been around for quite awhile with some alterations in its various editions. This is the sixth edition and remains a great collection. The pieces are from all periods from ancient to modern, there are pieces in all genres and ensemble types. Certainly, any teacher will likely supplement what is provided here with their own preferred pieces to illustrate certain points, but there is so much valuable stuff here that it will likely provide source material for several classes over a the years of undergraduate study. Burkhart also provides helpful notes and insightful questions at the head of pieces to help the student in thinking about that piece.

While I want to complement the publisher on the clarity of printing, and the vast majority of it is very good, I do wish that the few places where the bars for the sixteenth, thirty-second, and sixty-fourth notes run together that they were more careful to make them clear as well. Yes, this is not a performing edition and it is still clear what the music is, it is still disconcerting for musicians to try to read such blurry music. Can you imagine an anthology of, say, American poetry, being acceptable if the text were smeared just because it was kind of legible? But this is a smallish (but serious) point.

This anthology would be perfectly useable for someone studying form, harmony, and voice leading on their own, as well.

Fine anthology that has earned its place in the curriculum.
2 of 2 people found the following review helpful
HASH(0x97bb7ef4) out of 5 stars Great for studying music theory 6 Feb. 2014
By James Wells - Published on Amazon.com
Format: Spiral-bound Verified Purchase
Recently purchased this book for my music theory class. A little pricey, but you get a lot for your money. This anthology covers all time periods and different levels of popularity. Most anthologies just include the pieces you hear all the time. I like that this one included those and some composers' lesser known works. GOOD BUY
1 of 1 people found the following review helpful
HASH(0x97bb50a8) out of 5 stars Excellent Anthology 24 Sept. 2009
By Drew Robertson - Published on Amazon.com
Format: Spiral-bound Verified Purchase
This text is packed with scores varying in length, form, style, & complexity. Everything is clearly displayed in the scores & the notes for each piece are incredibly helpful. This book is an easy 5 stars.
Were these reviews helpful? Let us know

Look for similar items by category


Feedback