Introduction |
|
1 | (4) |
|
|
1 | (1) |
|
|
2 | (1) |
|
|
2 | (1) |
|
|
3 | (1) |
|
|
4 | (1) |
Part 1: Getting Started With Classical Music |
|
5 | (110) |
|
Chapter 1 Prying Open the Classical Music Oyster |
|
|
7 | (6) |
|
Discovering What Classical Music Really Is |
|
|
8 | (1) |
|
Figuring Out What You Like |
|
|
8 | (1) |
|
The Seven Habits of Highly Effective Composers |
|
|
9 | (4) |
|
Their music is from the heart |
|
|
9 | (1) |
|
They use a structure that you can feel |
|
|
9 | (1) |
|
They're creative and original |
|
|
10 | (1) |
|
They express a relevant human emotion |
|
|
10 | (1) |
|
They keep your attention with variety and pacing |
|
|
11 | (1) |
|
Their music is easy to remember |
|
|
11 | (1) |
|
They move you with their creations |
|
|
12 | (1) |
|
Chapter 2 The Entire History of Music in 80 Pages |
|
|
13 | (82) |
|
Understanding How Classical Music Got Started |
|
|
13 | (1) |
|
Chanting All Day: The Middle Ages |
|
|
14 | (2) |
|
|
14 | (1) |
|
|
15 | (1) |
|
|
15 | (1) |
|
|
16 | (1) |
|
Born Again: The Renaissance |
|
|
16 | (2) |
|
|
16 | (1) |
|
|
17 | (1) |
|
Getting Emotional: The Baroque Era |
|
|
18 | (8) |
|
|
18 | (1) |
|
Kings, churches, and other high rollers |
|
|
19 | (1) |
|
|
19 | (2) |
|
|
21 | (3) |
|
|
24 | (2) |
|
Tightening the Corset: The Classical Style |
|
|
26 | (19) |
|
|
27 | (2) |
|
|
29 | (5) |
|
Joseph Boulogne, Chevalier de Saint-Georges |
|
|
34 | (1) |
|
Ludwig van Beethoven: The man who changed everything |
|
|
34 | (5) |
|
|
39 | (3) |
|
|
42 | (2) |
|
|
44 | (1) |
|
Falling in Love: Hopeless Romantics |
|
|
45 | (18) |
|
|
45 | (1) |
|
|
46 | (3) |
|
|
49 | (2) |
|
|
51 | (3) |
|
|
54 | (2) |
|
The superstars: Paganini and Liszt |
|
|
56 | (1) |
|
Liszt follows Paganini's lead |
|
|
57 | (1) |
|
|
58 | (1) |
|
|
59 | (4) |
|
Saluting the Flag(s): Nationalism in Classical Music |
|
|
63 | (14) |
|
|
64 | (1) |
|
|
65 | (2) |
|
|
67 | (1) |
|
|
68 | (2) |
|
|
70 | (1) |
|
Glinka and the Mighty Fistful |
|
|
71 | (2) |
|
|
73 | (2) |
|
|
75 | (2) |
|
Listening to Music of the 20th Century and Beyond |
|
|
77 | (18) |
|
|
78 | (2) |
|
|
80 | (3) |
|
|
83 | (1) |
|
|
84 | (2) |
|
The Second Viennese School |
|
|
86 | (1) |
|
|
87 | (8) |
|
Chapter 3 Spotting a Sonata |
|
|
95 | (20) |
|
|
95 | (4) |
|
First movement: brisk and lively |
|
|
96 | (1) |
|
Second movement: slow and lyrical |
|
|
97 | (1) |
|
|
98 | (1) |
|
|
98 | (1) |
|
|
99 | (1) |
|
|
100 | (3) |
|
|
101 | (1) |
|
|
101 | (2) |
|
|
103 | (1) |
|
Serenades and Divertimentos |
|
|
104 | (1) |
|
|
105 | (1) |
|
|
106 | (1) |
|
Tone Poems (Or Symphonic Poems) |
|
|
107 | (1) |
|
|
107 | (2) |
|
|
108 | (1) |
|
|
108 | (1) |
|
Oratorios and Other Choral Works |
|
|
109 | (1) |
|
Operas, Operettas, and Arias |
|
|
110 | (1) |
|
|
110 | (1) |
|
|
111 | (1) |
|
String Quartets and Other Motley Assortments |
|
|
112 | (1) |
|
Why Do You Need a Form, Anyway? |
|
|
113 | (2) |
Part 2: Listen Up! |
|
115 | (68) |
|
Chapter 4 Dave 'n' Scott's E-Z Concert Survival Guide |
|
|
117 | (24) |
|
|
117 | (1) |
|
Knowing When to Arrive at the Concert |
|
|
118 | (1) |
|
Can I Wear a Loincloth to The Rite of Spring? |
|
|
119 | (1) |
|
The Gourmet Guide to Pre-Concert Dining |
|
|
119 | (1) |
|
Figuring Out Where to Sit - and How to Get the Best Ticket Deals |
|
|
120 | (2) |
|
To Clap or Not to Clap: That's the Question |
|
|
122 | (3) |
|
|
122 | (1) |
|
More on the insane "no-clap" policy |
|
|
123 | (2) |
|
Who to Bring and Who to Leave at Home with the Dog |
|
|
125 | (1) |
|
Recognizing Which Concerts to Attend - or Avoid - on a Date |
|
|
125 | (1) |
|
Peeking at the Concert Program |
|
|
126 | (6) |
|
The typical concert format |
|
|
127 | (2) |
|
|
129 | (1) |
|
A different kind of program |
|
|
130 | (2) |
|
Introducing the Concertmaster |
|
|
132 | (3) |
|
|
133 | (1) |
|
Twisting and turning, pulling and pushing |
|
|
133 | (2) |
|
|
135 | (6) |
|
Understanding interpretation |
|
|
135 | (2) |
|
|
137 | (1) |
|
Reading the job description |
|
|
138 | (3) |
|
Chapter 5 For Your Listening Pleasure |
|
|
141 | (24) |
|
1 Handel: Water Music Suite No. 2: Alla Hornpipe |
|
|
142 | (1) |
|
2 Bach: Well-Tempered Clavier, Book 2: Prelude and Fugue in C Major |
|
|
143 | (2) |
|
3 Mozart: Piano Concerto No. 22 in E-Flat, Third Movement |
|
|
145 | (4) |
|
4 Beethoven: Symphony No. 5, First Movement |
|
|
149 | (4) |
|
|
150 | (1) |
|
|
151 | (1) |
|
|
151 | (1) |
|
|
152 | (1) |
|
5 Brahms: Symphony No. 4, Third Movement |
|
|
153 | (2) |
|
6 Dvorak: Serenade for Strings, Fourth Movement |
|
|
155 | (1) |
|
7 Tchaikovsky: Symphony No. 6, Fourth Movement |
|
|
156 | (2) |
|
8 Debussy: La Mer: Dialogue du Vent et de la Mer |
|
|
158 | (3) |
|
9 Stravinsky: The Rite of Spring: Opening to the End of Jeu de Rapt |
|
|
161 | (4) |
|
|
161 | (1) |
|
Dances des adolescentes (Dances of the Adolescent Girls) |
|
|
162 | (1) |
|
Jeu de rapt (Ritual of Abduction) |
|
|
163 | (2) |
|
Intermission: Backstage Tour |
|
|
165 | (18) |
|
Living in the Orchestral Fishpond |
|
|
165 | (1) |
|
|
166 | (1) |
|
Going through an Audition |
|
|
167 | (8) |
|
|
167 | (2) |
|
|
169 | (1) |
|
|
169 | (1) |
|
|
170 | (1) |
|
|
170 | (1) |
|
|
171 | (1) |
|
|
171 | (1) |
|
|
172 | (1) |
|
|
172 | (2) |
|
|
174 | (1) |
|
|
175 | (1) |
|
The Life of an Orchestra Musician, or What's Going on in the Practice Room? |
|
|
175 | (1) |
|
|
176 | (3) |
|
Understanding Contract Riders |
|
|
179 | (1) |
|
The Strange and Perilous Relationship between an Orchestra and Its Conductor |
|
|
180 | (2) |
|
Why an Orchestra Career Is Worth the Grief |
|
|
182 | (1) |
Part 3: A Field Guide To The Orchestra |
|
183 | (74) |
|
Chapter 6 Keyboards & Co. |
|
|
185 | (12) |
|
|
185 | (6) |
|
|
186 | (1) |
|
|
186 | (1) |
|
|
186 | (1) |
|
|
187 | (1) |
|
|
188 | (1) |
|
|
188 | (2) |
|
|
190 | (1) |
|
|
191 | (2) |
|
Winning the Baroque gold medal |
|
|
191 | (1) |
|
|
192 | (1) |
|
|
193 | (2) |
|
|
194 | (1) |
|
|
194 | (1) |
|
|
195 | (2) |
|
Chapter 7 Strings Attached |
|
|
197 | (18) |
|
|
198 | (6) |
|
|
199 | (1) |
|
|
199 | (1) |
|
|
200 | (1) |
|
|
201 | (1) |
|
The unbearable lightness of bowing |
|
|
201 | (1) |
|
|
202 | (1) |
|
|
203 | (1) |
|
The Other String Instruments |
|
|
204 | (11) |
|
|
204 | (2) |
|
|
206 | (2) |
|
|
208 | (1) |
|
|
209 | (3) |
|
|
212 | (3) |
|
Chapter 8 Gone with the Woodwinds |
|
|
215 | (16) |
|
|
216 | (2) |
|
Making music out of thin air |
|
|
216 | (1) |
|
|
217 | (1) |
|
|
218 | (1) |
|
|
219 | (4) |
|
|
221 | (1) |
|
|
222 | (1) |
|
|
223 | (1) |
|
|
223 | (3) |
|
|
223 | (2) |
|
|
225 | (1) |
|
|
226 | (1) |
|
|
227 | (4) |
|
Chapter 9 The Top (and Bottom) Brass |
|
|
231 | (12) |
|
Making a Sound on a Brass Instrument |
|
|
232 | (1) |
|
|
233 | (3) |
|
Hunting for notes: The natural horn |
|
|
234 | (1) |
|
Adding valves: The modern, treacherous horn |
|
|
234 | (1) |
|
|
235 | (1) |
|
|
236 | (2) |
|
|
237 | (1) |
|
|
237 | (1) |
|
|
237 | (1) |
|
|
238 | (3) |
|
|
239 | (1) |
|
|
240 | (1) |
|
|
241 | (1) |
|
|
241 | (1) |
|
|
242 | (1) |
|
Pet Peeves of the Brassily Inclined |
|
|
242 | (1) |
|
Chapter 10 Percussion's Greatest Hits |
|
|
243 | (14) |
|
|
244 | (2) |
|
|
246 | (1) |
|
|
246 | (1) |
|
|
246 | (1) |
|
|
247 | (1) |
|
|
247 | (1) |
|
|
248 | (2) |
|
Other Xylo-like Instruments |
|
|
250 | (9) |
|
More Neat Instruments Worth Banging |
|
|
250 | (1) |
|
|
250 | (2) |
|
|
252 | (1) |
|
|
253 | (1) |
|
|
254 | (1) |
|
|
254 | (1) |
|
|
255 | (1) |
|
|
255 | (2) |
Part 4: Peeking Into The Composer's Brain |
|
257 | (50) |
|
Chapter 11 The Dreaded Music Theory Chapter |
|
|
259 | (40) |
|
I've Got Rhythm: The Engine of Music |
|
|
260 | (7) |
|
|
260 | (1) |
|
|
261 | (1) |
|
Sight-reading for the first time |
|
|
262 | (1) |
|
|
263 | (1) |
|
|
264 | (1) |
|
|
265 | (1) |
|
|
266 | (1) |
|
Understanding Pitch: Beethoven at 5,000 rpm |
|
|
267 | (13) |
|
Performing an experiment for the betterment of mankind |
|
|
268 | (1) |
|
|
269 | (1) |
|
|
270 | (8) |
|
Dave 'n' Scott's 99.9999% Key-Determining Method |
|
|
278 | (1) |
|
|
279 | (1) |
|
Making the Leap into Intervals |
|
|
280 | (10) |
|
|
281 | (1) |
|
|
282 | (1) |
|
|
282 | (1) |
|
|
283 | (1) |
|
|
284 | (1) |
|
|
285 | (1) |
|
|
285 | (1) |
|
Telling the difference: major and minor intervals |
|
|
286 | (1) |
|
|
286 | (1) |
|
|
287 | (1) |
|
The minor fifth (not!) - aka the tritone |
|
|
288 | (1) |
|
|
288 | (1) |
|
|
289 | (1) |
|
|
290 | (2) |
|
|
292 | (1) |
|
Getting Two-Dimensional: Piece and Harmony |
|
|
292 | (5) |
|
Major, minor, and insignificant chords |
|
|
293 | (1) |
|
Friends and relations: harmonic progressions |
|
|
294 | (1) |
|
Friends, Romans, chord progressions |
|
|
295 | (1) |
|
|
296 | (1) |
|
|
297 | (1) |
|
Getting Your Music Theory Degree |
|
|
298 | (1) |
|
Chapter 12 Once More, with Feeling: Tempo, Dynamics, and Orchestration |
|
|
299 | (8) |
|
Meet the Dynamics Duo: Soft and Loud |
|
|
300 | (3) |
|
Honey, I shrunk the Loud Soft |
|
|
301 | (1) |
|
|
302 | (1) |
|
Getting into matters of sonic taste |
|
|
303 | (1) |
|
|
303 | (1) |
|
Telling Bones from Heckelphones: Orchestration Made Easy |
|
|
304 | (5) |
|
Playing with sound colors |
|
|
304 | (1) |
|
|
304 | (1) |
|
|
305 | (2) |
Part 5: The Part Of Tens |
|
307 | (30) |
|
Chapter 13 The Ten Most Common Misconceptions about Classical Music |
|
|
309 | (6) |
|
Classical Music Is Boring |
|
|
309 | (1) |
|
Classical Music Is for Snobs |
|
|
310 | (1) |
|
All Modern Concert Music Is Hard to Listen to |
|
|
310 | (1) |
|
They Don't Write Classical Music Anymore |
|
|
311 | (1) |
|
You Have to Dress Up to Go to the Symphony |
|
|
311 | (1) |
|
If You Haven't Heard of the Guest Artist, She Can't Be Any Good |
|
|
311 | (1) |
|
Professional Musicians Have It Easy |
|
|
312 | (1) |
|
The Best Seats Are Down Front |
|
|
313 | (1) |
|
Clapping between Movements Is Illegal, Immoral, and Fattening |
|
|
313 | (1) |
|
Classical Music Can't Change Your Life |
|
|
314 | (1) |
|
Chapter 14 The Ten Best Musical Terms for Cocktail Parties |
|
|
315 | (6) |
|
|
316 | (1) |
|
|
316 | (1) |
|
|
317 | (1) |
|
|
317 | (1) |
|
|
317 | (1) |
|
|
318 | (1) |
|
|
318 | (1) |
|
|
318 | (1) |
|
|
318 | (1) |
|
|
318 | (1) |
|
|
319 | (1) |
|
Using Your New-Found Mastery |
|
|
319 | (2) |
|
Chapter 15 Ten Great Classical Music Jokes |
|
|
321 | (6) |
|
|
321 | (1) |
|
The Heavenly Philharmonic |
|
|
322 | (1) |
|
|
322 | (1) |
|
|
323 | (1) |
|
|
323 | (1) |
|
|
324 | (1) |
|
|
324 | (1) |
|
|
324 | (1) |
|
|
325 | (1) |
|
|
325 | (2) |
|
Chapter 16 Ten Ways to Get More Music in Your Life |
|
|
327 | (10) |
|
Get Involved with Your Orchestra |
|
|
327 | (1) |
|
Join a Classical Music Tour |
|
|
328 | (1) |
|
Meet the Artists - Be a Groupie |
|
|
328 | (1) |
|
Make Music Friends on the Internet |
|
|
329 | (1) |
|
Join an Unlimited Music Service |
|
|
330 | (1) |
|
Listen to Your Local Classical Station |
|
|
330 | (1) |
|
Load Up on Your Own Recordings |
|
|
331 | (1) |
|
Watch Classical Music Movies |
|
|
332 | (1) |
|
|
333 | (1) |
|
|
334 | (3) |
Part 6: The Appendixes |
|
337 | (22) |
|
Appendix A: Listen to This! Starting a Classical Music Collection |
|
|
339 | (6) |
|
|
340 | (1) |
|
List 2: MILD on the Taste Meter |
|
|
341 | (1) |
|
List 3: MEDIUM on the Taste Meter |
|
|
342 | (1) |
|
List 4: MEDIUM HOT on the Taste Meter |
|
|
343 | (1) |
|
List 5: HOT on the Taste Meter |
|
|
344 | (1) |
|
Appendix B: Classical Music Timeline |
|
|
345 | (8) |
|
|
353 | (6) |
INDEX |
|
359 | |