Structural Hearing: Tonal Coherence in Music

For anyone interested in Tonal Theory this work is absolutely necessary. Salzer's work is a continuation & extrapolation on Heinrich Schenker's work on music theory. The only drawback is it is not fully consistent when dealing with post-Romanticism (but then Schneker's theory is not always applicable in later musical contexts, & in some cases not completely internally-consistent). However, for the foundations of music from Bach to Beethoven ( & the Romantic composers afterward as well as any modern composition even remotely tonal) it is a masterwork.

This is a great book for those interested in exploring the many and varied aspects and ramifications of Schenkerian theory. I first bought this book in its hardback-two-separate-volume edition in 1972 or 1973, when, as an undergraduate music student, I was looking for answers to how music "works." This was while studying at a university where the music theory department had been commandeered by a couple of "avant-gardiste" professors who, after eliminating all traditional harmony classes,further insisted that all students should compose, regardless of interest or ability, and that atonality, interminable dissonance, and "originality" for its own sake be the ideals which one should be forced to uphold. It was in this environment that I began my search for musical understanding, and started researching the theoretical, harmonic, contrapuntal, and formal aspects of music that were so sorely neglected in my university education. It was at this time that I became aware of the book "Structural Hearing." In fact, one friend of mine told me, that this was the best book on theory that he had ever read. There are three things I would recommend to anyone interested in studying this book: 1. First, understand the basics of 4-part harmony, and become proficient at reading figured bass notation. This will help you understand the sections of the book that deal with what the author refers to as "chord grammar." 2. Second, get a copy of "The Study of Counterpoint," by J. J. Fux. This is the Norton edition of the translation of the famous "Gradus ad Parnassum." Work through the exercises in this book. In addition to being a lot of fun, these exercises will teach you a ton about the origins of harmony, voice leading, etc., and will provide some amazing practical solutions to problems you may encounter later, in composing original music, and/or arranging. I have always been happy for the work I did in this book. Trust me, you won't regret it! 3. Go to the nearest print shop that does book binding. They can split your book into two volumes, laminate the covers of them, and spiral bind each section. This will allow you to have the text and the examples side by side, and, as they are spiral bound, will allow you to lay them out flat. I do this with almost all of the scores, or music books with which I work. I recommend this to the reviewer above who expressed regret that the book was bound as a single volume, as well as all others who study this book. I am delighted to get this book in the paperback edition, and I hope my recommendations are helpful.

This is the best book to help anyone understand the tonal coherence in classical music. It takes you through counterpoint, harmony and analysis. If your goal is to comprehend Schenkerian Analysis, then this is the book you are looking for.I am wondering if there are any performers out there studying this book. If you are one of them, please write to me at: [email protected]. I'd love to hear from you. I am a performer currently studying this book by myself and would like to know how this book has helped you so far.

This book is the best introduction to the theories of Schenker that I've ever read. It is simple, concise and easy to understand. It also serves as a good advanced musicianship book dealing with species counterpoint. It deals with music from the Renaissance to the twentieth-century which is quite refreshing. Recommended.