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Tonal Harmony, with an Introduction to Twentieth-Century Music
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Product details
Hardcover: 688 pages
Publisher: McGraw-Hill Humanities/Social Sciences/Languages; 5th edition (June 10, 2003)
Language: English
ISBN-10: 9780072852608
ISBN-13: 978-0072852608
ASIN: 0072852607
Product Dimensions:
8 x 1.3 x 10.3 inches
Shipping Weight: 3.2 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
185 customer reviews
Amazon Best Sellers Rank:
#537,647 in Books (See Top 100 in Books)
I had to use this textbook for my last 2 years of Music Theory class (Theory III and Theory IV). It's definitely a good text as it covers everything I needed to know and had great examples. But it could often be confusing! It seems as if it was written from the perspective of "I'm an expert on Music Theory, look what I know!" instead of a "I'm brand new to all this, please explain it as simply and concisely as possible." perspective. It will definitely teach you what you need to know, but it doesn't have the most clear, easy-to-understand explanations. Thankfully my teacher was great at simplifying the subject enough for our class to grasp the concepts.So overall, if you have to use this book, you won't be disappointed in what it offers, but if you need the theory presented explained in the simplest, most easy-to-understand way possible, then there are definitely other books and websites that'll help you a lot more.
God, I hope this textbook gets better. I'm on chapter six and am self-studying just for fun and it really obfuscates the topic. When the author(s) go out of their way to muddle an explanation you have to wonder what was their purpose.
I've been a proffesional musician for 35 years and discovered Kosta's "Tonal Harmony" during a 13 year period in which I taught music theory in Westborough, Massachusetts. As with all textbooks, this is a supplement to teaching and should NEVER replace the teacher and student dynamic. That said, this is the best music theory text in existence. It uses simple, clear language to explain the concepts of notating organized sound and it does so brilliantly. The fundamental core of tonal understanding can be best understood through the redundancy of four part writing and Kosta makes it very clear on the do's and don'ts. One critic felt that two part writing would be easier, but to come down to guide tone lines (the chromatic 3rds and 7ths) requires a complete knowledge of four part writing, which couldn't be better explained than here. I chose my own listening examples and never used the accompanying recordings. Knowing what to use in a text book is part of being a good teacher. Using this book, every student I had who took the AP Theory exam got a 5. At least 50% of my many students took the exam and I never taught to the test. At the halfway point Kosta introduces the dominant 7 chord which by itself can (and should) take a full semester as the pivotal understanding of Western Harmony is about secondary dominants. Studying atonalism and row tones are here too, and beautifully explained for the advanced student but the first five chapters will create very competent composers. The book opens with rhythm which can be daunting. Touching upon it and returning often will keep momentum. The best way to teach rhythm is with a pair of drumsticks and hemiola best displayed with the work of Stephen Sondheim. Composing and music theory is craft-not art and "Tonal Harmony" is the finest, comprehensive book on music theory in print.it's wonderful in class; just as great for self study. The accompaning workbook is handy but hardly necessary.
This book is roughly 40 times the cost any ebook should be, and it's covered with DRM. I'm legally blind, and this DRM means I can't use my normal screen readers on it and can't convert it to a PDF or other format that's easier for me to use. The publisher is more concerned with protecting its rights than providing a quality experience.
This book is a few editions back, but it really doesn't matter that much (it's not like music theory as changed that much in the past few years, got it cos I could also get workbook with two CDs to match that were relevant), why I bought it--to save $. Perfect for me as a private music teacher to prep more advanced theory lessons, WAY easier to deal with than what I had in grad school, the practically unreadable HARMONY by Walter Piston.
Background:I bought this book because some one suggested it to me as I was entering college (I'm a music major). This isn't the text used in my school-I got it as supplemental/a possible better source. At the moment I couldn't play piano (still not much of a piano player but I get the stuff).The Not so Good Stuff:This book is really technical & nit picky about terminology. You'll have an amazing nomenclature if you can get through this-really but I think some functional aspects are missing. In other words, the book does a great job at helping you to identify, label & categorize things but it doesn't do much for providing a way to develop a working functional understanding of the stuff, then again that's what the workbook is for. And finally, to be frank-this isn't an easy book Dx.Good Stuff:This book is meant to cover four semesters of theory. It covers A LOT of ground & as a single source for it all it's a price friendly text. Going through this book will definitely set you up for just about any kind of theoretical situation-assuming of course you work with the information & internalize it.
I paid $119 dollars for a new version of this book because the description saidit was new and also included the CD—which I why I specifically paid all that money for the new book. There is no CD, and there is also a half-torn sticker on the side that says “used.â€
This text is a must-have for every music major. It's definitely my theory BIBLE, but my only beef about the workbook was that there was no way to check my answers to see if I was doing things correctly...
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