Table of Contents

PrefacePart A: The Renaissance And Baroque PeriodsChp. 1: Late Renaissance PolyphonyChp. 2: Two-Voice Eighteenth Century CounterpointChp. 3: The FuguePart B: Chromatic HarmonyChp. 4: Borrowed ChordsChp. 5: Neapolitan 6th ChordsChp. 6: Augmented 6th ChordsPart C: The Classical Period (1750-1825Chp. 7: Variation TechniqueChp. 8: Sonata FormChp. 9: Rondo FormsPart D: Extended And Chromatic HarmonyChp. 10: 9th,11th, and 13th ChordsChp. 11: Altered DominantsChp. 12: Chromatic MediantsPart E: The Nineteenth And Twentieth CenturiesChp. 13: The Romantic Period (1825-1900)Chp. 14: The Post-Romantic StyleChp. 15: Impressionism and Related StylesChp. 16: The Early Twentieth CenturyChp. 17: Pitch-Class Set TheoryChp. 18: Twelve-Tone TechniquePostlude: Music Since 1945AppendixesGlossaryCreditsIndex

About the Author

Bruce Benward has been widely regarded as one of the most gifted music theory pedagogues since his textbooks first appeared in the 1960s, and has exerted a wide influence on the teaching of music theory both through his writings and through the generation of teachers that he taught. He recently retired from the University of Wisconsin at Madison.