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Part 1: Materials of music. Listening to music today -- Melody: musical line. The structure of melody -- Rhythm and meter: musical time. Metrical patterns ; Rhythmic complexities -- Harmony: musical depth. The organization of harmony ; Consonance and dissonance -- The organization of musical sounds. The chromatic scale ; The major scale ; The minor scale ; Diatonic vs. chromatic ; The major-minor system -- Musical texture. Types of texture ; Contrapuntal devices -- Musical form. Structure and design in music ; The building blocks of form -- Musical expression: tempo and dynamics. The pace of music ; Loudness and softness ; Tempo and dynamics as elements of expression -- Music and words -- Voices and instrument families. Musical timbre ; The voice as instrument ; The world of musical instruments -- Western musical instruments. String instruments ; Woodwind instruments ; Brass instruments ; Percussion instruments ; Keyboard instruments -- Musical ensembles. Choral groups ; Chamber ensembles ; The orchestra ; Wind, jazz, and rock bands ; The role of the conductor ; The orchestra in action ; LG [Listening guide] 1. Britten: The Young Person's Guide to the Orchestra -- Style and function of music in society. The concept of style ; Musical styles in history -- Part 2: The middle ages and renaissance. The culture of the middle ages and renaissance. Early middle ages ; Later middle ages ; The arts in the renaissance ; Musicians in medieval and renaissance society -- Listening to the dove: medieval sacred music. Plainchant: music of the church ; The mass ; LG 2. Gregorian chant: Kyrie ; Life and music in the medieval monastery ; LG 3. Hildegard of Bingen: Alleluia, O virga mediatrix ; Early polyphony ; LG 4. Notre Dame school: Gaude Maria virgo ; Encounter: Islamic chant -- Courtiers and carols: medieval secular music. Medieval minstrels and court musicians ; Interface: opening doors to the East: the crusades ; LG 5. Raimbaut de Vaqueiras: Kalenda maya ; Machaut and the French Ars nova ; LG 6. Machaut: Ma fin est mon commencement ; The Hundred Years' War and music ; LG 7. Agincourt Carol: Deo gratias, Anglia ; Early instrumental music -- Textures of prayer: renaissance sacred music. The early renaissance mass ; LG 8. Du Fay: Kyrie, from L'homme armé Mass ; Josquin des Prez and the motet ; LG 9. Josquin: Ave Maria, virgo serena ; The Reformation and Counter-Reformation ; LG 10. Palestrina: Gloria, from Pope Marcellus Mass -- Singing in friendship: renaissance secular vocal music. Social music-making in the renaissance ; The chanson in the early renaissance ; LG 11. Josquin: Mille regretz ; The madrigal: linking music and poetry ; LG 12. Arcadelt: Il bianco e dolce cigno ; Interface: printing and literacy ; The chanson in the later renaissance ; LG 13. Lassus: Bon jour mon coeur ; The madrigal in England ; LG 14. Farmer: Fair Phyllis -- Ceremony and dance: renaissance. LG 15. Susato: Three Dances ; From the renaissance to the baroque ; LG 16. Gabrieli: Canzona septimi toni ; A comparison of medieval, renaissance, and baroque styles -- |
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Part 3: The baroque era. The baroque spirit. Baroque art and culture ; Main currents in baroque music ; An all-European art -- Drama through music: baroque opera. The components of opera ; Monteverdi and early opera in Italy ; LG 17. Monteverdi: The Coronation of Poppea, Act III, scene 7 ; Early opera in England ; LG 18. Purcell: Dido and Aeneas, Act III, Opening and Lament ; Italian "international" opera in the late baroque ; LG 19. Handel: Julius Caesar, Act II, "V'Adoro" -- Glorious worship: baroque liturgical music. Nuns and music in baroque Italy ; Interface: the musical world of the convent ; LG 20. Cozzolani: Magnificat ; The Lutheran chorale and cantata ; Bach and the Lutheran tradition ; LG 21. Bach: Cantata no. 140, Wachet auf, nos. 1-4, 7 -- Collective praise: baroque devotional music. The oratorio ; LG 22. Handel: Messiah, nos. 1, 14-18, 44 ; From "lining-out" to singing schools in the colonies ; Interface: shape-note singing and worship in North America ; LG 23. Billings: David's lamentation ; Encounter: blending worship traditions in colonial Latin America -- Form and process: baroque chamber music. Baroque keyboard instruments ; Sonata types ; LG 24. Corelli: Trio sonata in D major, op. 3, no. 2, excerpts ; Domenico Scarlatti and the solo sonata ; LG 25. Scarlatti: Sonata in C major, K. 159 (The hunt) ; Other keyboard forms ; The fugue and its devices ; Bach's keyboard fugues ; LG 26. Bach: Contrapuntus I, from The Art of Fugue -- Grace and grandeur: the baroque suite. Baroque instruments ; The baroque suite ; Handel and the orchestral suite ; LG 27. Handel: Water Music, Suite in D major, I and II ; Music at the French Royal Court ; LG 28. Mouret: Rondeau, from Suite des symphonies -- Contrasts and combinations: the baroque concerto. Vivaldi and the solo concerto ; LG 29. Vivaldi: Spring, from The Four Seasons ; Bach and the concerto ; LG 30. Bach: Brandenburg concerto no. 2 in F major, I ; Looking ahead to the age of enlightenment ; A comparison of baroque and classical styles -- Part 4: Eighteenth-century classicism. Music as order and logic. Classicism and enlightenment culture ; Interface: science, philosophy, and music in the age of enlightenment ; Classicism in music ; The patronage system ; From palace to concert hall -- Form as meaning: classical forms. Expanding musical ideas ; The multimovement cycle -- Musical conversations: classical chamber music. LG 31. Haydn: String quartet, op. 76, no. 3 (Emperor), II ; Chamber music and the listener ; LG 32. Mozart: Eine kleine Nachtmusik ; The sonata in the classical era ; LG 33. Beethoven: Piano sonata in C-sharp minor, op. 27, no. 2 (Moonlight) ; Encounter: North Indian classical music -- The ultimate instrument: the classical symphony. Early history of the symphony ; The classical orchestra ; The movements of the symphony ; LG 34. Mozart: Symphony no. 40 in G minor, I ; LG 35. Haydn: Symphony no. 100 in G major (Military), II ; Beethoven and the symphony in transition ; Interface: Beethoven and the politics of music ; LG 36. Beethoven, Symphony no. 5 in C minor -- Conversation with a leader: the classical concerto. Movements of the classical concerto ; LG 37. Mozart: Piano concerto in G major, K. 453 ; Famous women virtuosos of the eighteenth century ; LG 38. Haydn: Trumpet concerto in E-flat major, III -- Voicing classicism: choral music and opera. Mozart and myth ; LG 39. Mozart: Dies irae, from Requiem ; LG 40. Haydn: The Creation, Part I, closing ; Classical opera ; LG 41. Mozart: Don Giovanni, Act I, scene 2 ; A comparison of classical and romantic styles -- |
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Part 5: The nineteenth century. The spirit of romanticism. An age of revolutions ; Romantic writers and artists ; Romanticism in music ; The musician in society -- Musical reading: early romantic art song. The lied ; Schubert and the lied ; LG 42. Schubert: Elfking (Erlkönig) ; Schumann and the song cycle ; LG 43. Schumann: In the Lovely Month of May, from A Poet's Love (Dichterliebe) -- Characteristic elegance: romantic piano miniatures. The nineteenth-century piano ; The short lyric piano piece ; LG 44. Chopin: Mazurka in B-flat minor, op. 24, no. 4 ; Women and music in the nineteenth-century society ; Interface: music, gender, and domesticity ; LG 45. Hensel: September: At the River, from The Year -- Piano triumphant: larger piano and chamber works. The rise of the virtuoso performer/composer ; Liszt: incomparable performer ; LG 46. Liszt: Hungarian Rhapsody no. 2 in C-sharp minor ; Out of the shadows: Clara Schumann as pianist and composer ; LG 47. Clara Schumann: Piano trio in G minor, III ; Encounter: Roma music -- Crossing the Atlantic: nineteenth-century American traditions. Music in early North America: cultivated and vernacular ; LG 48. Foster: Jeanie with the Light Brown Hair ; Gottschalk: composer for the Americas ; LG 49. Gottschalk: The banjo ; Spirituals and the jubilee tradition ; Spirituals and the art-song tradition ; LG 50. Swing low, sweet chariot -- Personal soundtracks: romantic program music. Romantic program music ; Interface: musical instruments and new technologies ; LG 51. Berlioz: Symphonie Fantastique, IV and V ; Musical nationalism ; A Scandinavian nationalist: Edvard Grieg ; LG 52. Grieg: Peer Gynt, Suite no. 1, excerpts -- Absolutely classic: the romantic concerto and symphony. Absolute music in the romantic era ; The romantic concerto ; LG 53. Mendelssohn: Violin concerto in E minor, I ; The romantic symphony ; LG 54. Brahms: Symphony no. 3 in F major, III ; LG 55. Dvorak: Symphony no. 9, From the New World, I -- Multimedia hits and total art: national styles of romantic opera. Women and nineteenth-century opera ; Verdi and Italian opera ; LG 56. Verdi: Rigoletto, Act III, excerpts ; Wagner and German musical theater ; LG 57. Wagner: Die Walküre, Act III, Opening and Finale ; Encounter: Chinese opera -- Foreign allure: opera and exoticism. Bizet and exoticism in French opera ; LG 58. Bizet: Carmen, Act I, scenes 4 and 5 ; Post-romanticism ; LG 59. Puccini: Madame Butterfly, "Un bel di" ; Encounter: Japanese music -- End of an era: late romantic and post-romantic traditions. Romantic choral music ; Fauré and late French romanticism ; LG 60. Fauré: Libera me, from Requiem ; Poetry in motion: the ballet ; LG 61. Tchaikovsky: The Nutcracker, Three Dances ; The post-romantic voice of Gustav Mahler ; LG 62. Mahler: The Song of the Earth, III -- Images and symbols: impressionists and post-impressionists. Impressionism and symbolism in Paris ; Translating impressions into sound ; LG 63. Debussy: Prelude to "The Afternoon of a Faun" ; Ravel as post-impressionist ; Interface: music, world colonization, and the exotic ; LG 64. Ravel: Don Quixote to Dulcinea, Two Songs ; Encounter: traditional Spanish dance ; A comparison of romantic, impressionist, and early twentieth-century styles -- |
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Part 6: Twentieth-century modernism. Making music modern. Modernism ; Features of early musical modernism -- Calculated shock: European modernists. Stravinsky's Rite of Spring: collaborative multimedia ; LG 65. Stravinsky: The Rite of Spring, Part I, excerpts ; Schoenberg and the rejection of tonality ; LG 66. Schoenberg: Pierrot Lunaire, nos. 18 and 21 -- Chaos into order: the second Viennese school. The second Viennese school ; LG 67. Berg: Wozzeck, Act III, scene 4, Interlude, and scene 5 ; Webern and serial technique ; LG 68. Webern: Symphony, opus 21, II -- New world order: American modernists. Ives and New England modernism ; LG 69. Ives: Country Band March ; Still and African American modernism ; Interface: identity and the arts in the Harlem renaissance ; LG 70. Still: Suite for violin and piano, III ; Encounter: American folk traditions -- Sounds American: nationalism in the Americas. Copland and the American orchestral soundscape ; LG 71. Copland: Appalachian Spring, excerpts ; Musical traditions of Mexico ; Silvestre Revueltas: "Mestizo realist" ; LG 72. Revueltas: Homage to Federico García Lorca, III ; Encounter: musical traditions in Mexico -- Classic rethinking: nationalism in Europe. European schools ; Post-impressionism: Lili Boulanger, and the Prix de Rome ; Interface: the consummate pedagogue ; LG 73. Boulanger: Psalm 24 ; Bartók and the eastern European tradition ; LG 74. Bartók: Interrupted Intermezzo, from Concerto for Orchestra ; Interface: anthropology and traditional music ; Prokofiev and the Russian school ; LG 75. Prokofiev: Troika, from Lieutenant Kijé Suite -- Part 7: Music beyond the concert hall. The rise of American popular styles. Musical markets in the United States ; Between the Two Wars: music in the Great Depression -- A good beat: march and ragtime. John Philip Sousa and the band tradition ; LG 76. Sousa: The Washington Post ; Scott Joplin and ragtime ; LG 77. Joplin: Maple Leaf Rag -- American intersections: jazz and blues traditions. Roots of jazz and blues ; The jazz singer: Billie Holiday ; LG 78. Holiday: Billie's Blues ; Duke Ellington and the swing era ; LG 79. Strayhorn/Ellington: Take the A train ; Bebop, cool, Latin jazz -- Staged sentiment: American musical theater. Gershwin and "cultivated jazz" ; LG 80. Gershwin: Summertime, from Porgy and Bess ; Musical theater in North America ; Bernstein and West Side Story ; Interface: music as literature ; LG 81. Bernstein: West Side Story, excerpts -- Underscoring meaning: music for film. Sound and film ; John Williams: Star Wars and beyond ; LG 82. Williams: Imperial March, from The Emperor Strikes Back ; Tan Dun: blending east and west ; LG 83. Tan Dun: Farewell, from Crouching Tiger, Hidden Dragon ; Encounter: Chinese traditional music -- On the charts: rock in the kaleidoscope of commercial music. The many voices of rock ; LG 84. Chuck Berry: Roll Over, Beethoven ; Rock triumphant: the 1960s ; LG 85. Rolling Stones: 19th Nervous Breakdown ; LG 86. Dylan: Mr. Tambourine Man ; Rock eclecticism in the 1970s ; The 1980s and beyond ; LG 87. Madonna: Like a Virgin ; LG 88. Nirvana: Smells Like Teen Spirit ; A contrasting case study: country-western music -- Part 8: Postmodernism: the twentieth century and beyond. New directions in the arts. The postmodern turn ; Music in a postmodern world ; Interface: the medium is the message -- Posthuman possibilities: music and electronic technology. The technological revolution ; Electrical vibrations: synthesizers ; Musical intelligence: computers ; Encounter: music technology -- Expanded sound palettes: the new virtuosity in Europe. Olivier Messiaen and the Second World War ; LG 89. Messiaen: Quartet for the End of Time ; György Ligeti and microphony ; LG 90. Ligeti: Atmosphères -- Extended techniques: the new virtuosity in America. Early experiments ; The music of John Cage ; LG 91. Cage: Sonata V, from Sonatas and Interludes ; George Crumb and avant-garde virtuosity ; LG 92. Crumb: Little Black Horse ; Steve Reich: from process to phase ; LG 93. Reich: Electric Counterpoint, III ; Encounter: Javanese gamelan ; Encounter: East African drumming -- Reflective evocations: contemporary neo-romanticism. A new romanticism? ; LG 94. Higdon: blue cathedral, excerpt ; John Corigliano and the contemporary song cycle ; LG 95. Corigliano: Prelude, from Mr. Tambourine Man ; Encounter: video games -- Less is more: contemporary minimalist trends. Icons in sound: John Tavener and spiritual minimalism ; LG 96. Tavener: A Hymn to the Mother of God ; Historical opera in the twenty-first century ; LG 97. Adams: Doctor Atomic, "Batter my heart" and "At the sight of this" -- Appendix I. Musical notation -- Appendix II. Glossary. |
| Abstract |
This book teaches students how to listen and connect to any kind of music. After more than fifty years of successfully preparing students for a lifetime of informed listening, the Twelfth Edition raises the bar with an expanded repertory of appealing music, an exciting new listening and assessment pedagogy, and the richest and most user-friendly online resources available to students today. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 2015001542 |
| ISBN | 9780393936377 (hardcover ; alk. paper) |
| ISBN | 0393936376 (hardcover alkaline paper) |
| ISBN | 9780393906035 (paperback) |
| ISBN | 0393906035 (paperback) |
