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The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening [Anglais] [Relié]

Steven G. Laitz

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Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. DISTINCTIVE FEATURES * Presents an outstanding quality, quantity, and diversity of exercises geared toward real music and real music situations * Explores not only standard four-voice harmony, but also other musical domains including melody, counterpoint, and a multitude of textures; the result is a text with applicability and relevance to all musicians * Includes almost 4,500 musical examples from the common-practice repertoire in the text and workbooks, more than 90 percent of which are on the CDs included with the text and workbooks--nearly twenty hours of music on MP3 files (all music is performed, recorded, and engineered at Eastman) NEW TO THIS EDITION * Revised with beginning students in mind, this edition contains more basic exercises as well as solutions to selected exercises in the text. Longer and more difficult exercises have been moved to the workbooks. * Streamlined and reorganized with fewer chapters (31, down from 37), the text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive (covered in chapters 15, 16, and 23 of the previous edition)--to the appendices, where instructors may access them as their individual curriculum permits, or omit them altogether. * This edition offers a new presentation of fundamentals: the first three chapters provide a review and synthesis for students with experience in music fundamentals, and a 75-page appendix introduces key concepts for students with little or no experience. This allows instructors to choose the pacing that best suits their class and individual students. * Numerous musical examples include guiding annotations, with textural and structural reductions of more complex examples. * This edition presents more than 250 new literature excerpts and complete works for analysis and dictation, including new instrumental combinations. * New appendices offer further support: Appendix 5 covers terms and abbreviations used in the text and Appendix 6 includes selected answers to exercises in the text. SUPPORT PACKAGE * The new Companion Website (www.oup.com/us/laitz) provides instructor and student resources that include supplementary drill exercises. * The Instructor's Manual provides solutions to all of the dictation exercises, sample solutions for more than 250 writing (e.g., figured bass and melody harmonization) and analytical exercises, supplementary examples, exercises, and teaching guidelines that detail effective strategies for each chapter. * The two workbooks have been significantly reorganized: Workbook 1 is now dedicated to written and analytical activities, including figured bass, melody harmonization, model composition, and analysis. Workbook 2 covers musicianship skills. Exercises within each chapter of Workbook 2 are organized by activity type: singing arpeggiations of the chord being studied, then within a tune from the literature; two-part singing; dictation; keyboard; then instrumental application.

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Amazon.com: 4.3 étoiles sur 5  15 commentaires
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 the best 12 décembre 2009
Par Skinchanger2 - Publié sur Amazon.com
I am a self-taught and studied off Schoenberg's 'Treatise of Harmony' and MacPherson's 'Melody and Harmony'. The former is an unique and philosophical study in harmony, the latter a more common harmony textbook,but nevertheless very succint and well organized.
I also bought many other music books. In fact, I think I bought most of the ones that are comparable to Complete Musician: Tonal Harmony, Theory for Today's Musician,


1.almost 900 pages that cover almost every topic about musicianship: how to use motives, harmony, counterpoint, musical structures. All geared toward the classically inclined, which is what I prefer. Even though I listen to a lot of different good music, learning from classical is what I prefer

2.packed with a whopping TWO dvds that include dozens of AUDIO examples to refer to the ones in the text. This is so helpful. You can read the explanation about a certain concept, and then you just click on the audio file and listen back. All the examples are played by a professional orchestra! This is the best innovations I have seen in a music book, for years. What's more, the two dvds are included with the book.

3.very dense. This is a book that will go into minute detail about the various concepts. It's not one of these books that dabble with a bit of this and a bit of that but in the end explain all very superficially. Some of the topics are explained better than in any other similar books, e.g. the chapter about sequences was very detailed and hugely informative. Learned lots in little time.

4. all the DVDs are included in the basic price (which is a VERY good price considering the very high quality of this product).Unlike other similar books, you don't have to kill yourself to buy the audio examples as 'extras', which is a waste of time. I'd rather pay more and get it over with.


1.audio examples not available for every text examples. I would also prefer only or mostly keyboard examples, the simpler, the better.
With some examples you have to take your time to do reductions. It would be great to have the reductions done , as well.

2. many of the examples are a bit too difficult to play back on a keyboard, especially the orchestral examples.
There's books like 'Melody, harmony and composition' by Paul Sturman, which mentions very easy examples, even from folk music, which prove the techniques very well. I understand that The Complete Musician aims at to higher and more sophisticated examples, but still, it would be great to have the easy and the more difficult. The fact is, I learn a lot from easy examples, and from then on it's easy to understand the more difficult examples, too.

3.not as 'artistic' as a book like 'Fundamentals of Music Composition' or 'Models for Beginner in Composition' by Arnold Schoenberg. In these book, there are things that I have not seen in other books, for example models of progressions for contrasting middle sections. I find this kind of explanations, really, really useful. Even if you won't use one of these models, you'll understand why it is desiderable to write a pedal over a dominant, in a contrasting section. Also, the analysis of Beethoven's music examples, to me are unequalled. These books were written by a composer who had to deal with problems in composition (and I think that this 'dealing with problems' is the most remarkable thing in these books by Schoenberg)

4. I was HUGELY disappointed to see no solutions to the exercises in the book. I think the solutions are included in the 'Instructor's Manual' , which for the life of me, I can't understand why it is only be sold to instructors! The solutions should ALREADY be included wherever there's ANY exercices, or at least making an answers book. In 'Tonal Harmony' by Kostka, if I am not mistaken, there's solutions for all the exercises in the book. The thing is, many self-taught musicians, like me, would buy 'The Complete Musician'. So why not including solutions to whatever exercises, so that the student (self-taught or not) can compare his solution to the one on the book....I think that a lot can be learned by comparing. The exclusion of exercises solution, and especially, the difficulty in obtaining the 'Instructor's manual' for the solutions alone, is inexcusable (if you are not an instructor, you can't buy the book, which really makes no sense).

5. the last thing that I find can be improved, is how the book introduces new concepts. Often it jumps right in with an example from
the literature, which I find 'detract' from a more immediate understanding. For example, the chapter about suspensions: I found it of more immediate understanding from some other books, again such as Paul Sturman's 'Harmony, melody, composition', where all that is needed to
understand how suspension work, is a bare example of three chords written in minims. You don't need to examine the start of a Bach fugue right away. I -still- very much welcome all the examples from the literature, but I find it more effective to get introduced to a new concept, with a bare, simple example, and THEN to show it's effectiveness in the context of a literature example.

Even with all the imperfections, The Complete Musician is one of my fav books about music theory, bar none, and I still give 5 stars to it. I still learn a lot from it, and the detailed, very professional explanations plus the inclusion of two dvds makes this book very, very hard to beat. If you are serious about music, whatever your level or genre, you should get this book. The worst that will happen is that you'll learn stuff you can use.


update: I understand that in the newer edition, textural reductions have been added as well as 'selected' answers to exercises (which might means, not all answers but most?). So the new edition is certainly worth checking, I'll do that too.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Very Detailed text 14 décembre 2009
Par Thomas C. Spoerner - Publié sur Amazon.com
I used this in college along with a few others. I have studied Harmony from Shoenburg, Piston, Adwell, Laitz, and another Programmed Course whose name I forgot. This text is by far the most detailed and progressively topical. The amount of examples are ok. The best thing is that they present the subjects all hanging from the frame work of the phrase model. It is INDISPENSABLE to learn harmony in this way. Unless you are writing or studying special polyphonic forms like fugues of newer modern forms this is the only serious way to understand music. Most of baroque, classical, and romantic, post-romantic, and jazz are based on the phrase model. I recommend reading Piston's Harmony too which is the opposite treatment to harmony. Piston is wordy and loose, his examples more free and although he mentions the phrase model it is by no means so systematically elucidated. I do not recommend Piston to create a "working" knowledge of harmony. Observe these two authors treatment of the Sequence to get a good idea of what I'm talking about.
The only thing wrong with this series is that the workbooks are simply ok and more specifically the DVD's that accompany the workbooks and text are so poorly organized that it is impossible to use them correctly.
8 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Phenomenal 15 septembre 2012
Par A. Reynolds - Publié sur Amazon.com
This is the most insightful, thorough, engaging, and inspiring theory textbook on the market today. If you really want to understand how all of the various aspects of music come together, this is your source.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 buy it and learn, if you dare 27 mai 2013
Par Skinchanger2 - Publié sur Amazon.com
This book has almost 900 pages packed with instruction about all aspects of music, from chord and root progressions to counterpoint and musical form. It contains basically all the musical instruction you would get at a music college and then some. It contains dvds with audio examples performed by an orchestra. It's brilliant. This is for people who really mean it with their learning, so it's not for dabblers.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 thorough and easy to understand 30 mai 2010
Par K. Lee - Publié sur Amazon.com
Format:Relié|Achat authentifié par Amazon
I bought this text to fill in the gaps in my knowledge of music theory after finding that it is used at several of the good music colleges. It is easy to understand, clearly written, and comprehensive. Highly recommend this for serious music students.
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