Harmony Through Melody:The Interaction of Melody, Counterpoint, and Harmony in Western Music, Second Editionoffers a robust, composition-based approach to tonal music theory, ranging from early modality to recent film and popular music. Charles Horton, David A. Byrne, and Lawrence Ritchey develop techniques and strategies for exploring the fundamental interaction of melody and counterpoint with harmony, and provide students with opportunities to creatively express what they have learned in the writing and analysis of short passages and complete pieces in historical styles.

This second edition contains additional examples from the standard literature, film music, and popular song, and features new assignments involving late nineteenth-century chromatic practice. The textbook present a step-by-step method for the composition and analysis of short passages and complete pieces, with more than 1400 musical examples drawn from a variety of styles and genres, plus classroom-tested examples for study and suggested assignments at the end of each chapter.

The second edition has an online companion website (textbooks.rowman.com/horton2e) featuring:

A student workbook with more than 260 assignments for individual work and classroom useAudio links to 315 newly-recorded live performances of model compositions and fully realized settings

An instructors manual with guidelines for evaluation of assignments, additional repertoire for in-class analysis and assignments, sample syllabi, and other useful information is also available. Please email textbooks@rowman.com for more information.

Charles Hortonis Associate Dean of the Desautels Faculty of Music at the University of Manitoba, where as Associate Professor of Music (now retired) he taught music theory, music history, counterpoint, analysis, chamber music and piano. He has appeared in concert in Canada, the United States and Europe in solo recitals, chamber music concerts and concerto performances; his teachers have included Alexandra Pierce, Marvin Blickenstaff, Jeanneane Dowis and Jerome Lowenthal. He is the founding music director (1997) ofAll The King's Men, Winnipeg's male-voice liturgical choir; the choir has undertaken six English cathedral tours, most recently for residencies at Worcester and Exeter Cathedrals. He is a founding member of theSociety for Music Theoryand a former co-editor ofIn Theory Only.

David A. Byrneis Assistant Professor of Music Theory in the Desautels Faculty of Music at the University of Manitoba, where he teaches music theory and orchestration. He earned a Ph.D. in music theory from the University of Cincinnati, with a dissertation on the harmonic theories of Sigfrid Karg-Elert. His research encompasses the history of theory in the early twentieth century, transformational models of chromatic harmony, and the analysis of symphonic form. His work is published inMusic Research Forum, and he has presented at many conferences including the Society for Music Theory, the Society for Music Analysis, and the International Conference on Nineteenth-Century Music. In addition to his teaching and research in music theory, he is a clarinetist, conductor and arranger.

Lawrence Ritchey(1939 2006) was Associate Professor of Music in the Desautels Faculty of Music at the University of Manitoba and a Senior Fellow at St. John's College; he taught music theory, jazz history, organ, and harpsichord. He appeared in concert in Canada, the United States and Europe; his frequent performances included solo recitals, concerto performances, continuo playing and collaborations with singers in performances of American popular song and jazz. He teachers included Arthur Poister and Marcel Dupré. He served as chair of the editorial board of the interdisciplinary journal,Mosaic, and was organist and choirmaster of St. John's Anglican Cathedral in Winnipeg.

Part I Fundamentals

1. Musical Sound and Its Notation

2. Scale and Intervals

3. Modes and Keys

4. Rhythm and Meter

Part II Modality: Melody and Harmony

5. Melodic Design

6. Duple Paraphrase

7. Harmonic Framework

8. Chordal Succession

Part III Vocal Melody and Counterpoint

9. Melodic Dialogue

10. Triple Paraphrase

11. Vocal Duet

Part IV Diatonic Harmony and Tonicization

12. Tonic Confirmation

13. Suspensions and Syncopations

14. Tonicization

15. Elaborating the Lower Voices

16. The Chorale

Part V Instrumental Melody and Counterpoint

17. Quadruple Paraphrase

18. Instrumental Duet

19. Elaborating the Soprano

20. Accompanied Melody

21. Diatonic Sequence

22. The Minuet

Part VI Chromatic Harmony and Form

23. Primary Mixture

24. Intensifying the Dominant

25. Intensifying the Tonic

26. Formal Modulation

27. Chromatic Sequence

28. Secondary Mixture

29. The Romance

Part VII Extensions of Chromatic Tonality

30. Enharmonics

31. Extended Voice-Leading Techniques

32. Twentieth Century Melody