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PART 1 Materials of Music |
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Prelude 1 Listening to Music Today |
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4 | (4) |
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Chapter 1 Melody: Musical Line |
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8 | (3) |
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Chapter 2 Rhythm and Meter: Musical Time |
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11 | (3) |
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Chapter 3 Harmony: Musical Depth |
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14 | (3) |
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The Organization of Harmony |
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Consonance and Dissonance |
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Chapter 4 The Organization of Musical Sounds |
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17 | (5) |
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Chapter 5 Musical Texture |
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22 | (4) |
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26 | (4) |
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Structure and Design in Music |
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The Building Blocks of Form |
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Chapter 7 Musical Expression: Tempo and Dynamics |
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30 | (3) |
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Tempo and Dynamics as Elements of Expression |
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Chapter 8 Music and Words |
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33 | (3) |
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Chapter 9 Voices and Instrument Families |
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36 | (3) |
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The World of Musical Instruments |
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Chapter 10 Western Musical Instruments |
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39 | (8) |
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Chapter 11 Musical Ensembles |
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47 | (7) |
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Wind, Jazz, and Rock Bands |
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The Role of the Conductor |
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LG 1 Britten: The Young Person's Guide to the Orchestra |
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Chapter 12 Style and Function of Music in Society |
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54 | (6) |
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Musical Styles in History |
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57 | (3) |
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PART 2 The Middle Ages and Renaissance |
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Prelude 2 Music as Commodity and Social Activity |
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60 | (4) |
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From Antiquity to the Middle of Things |
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Looking Out and Looking In |
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Musicians in Medieval and Renaissance Society |
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Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant |
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64 | (7) |
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Life in the Medieval Monastery |
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Plainchant: Music of the Church |
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LG 2 Hildegard of Bingen: Alleluia, O virga mediatrix Encounter: Islamic Chant |
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68 | (3) |
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Chapter 14 Layering Lines: Polyphony at Notre Dame |
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71 | (3) |
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LG 3 Notre Dame School: Gaude Maria virgo |
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Chapter 15 Symbols and Puzzles: Machaut and the Medieval Mind |
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74 | (5) |
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Medieval Minstrels and Court Musicians |
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Interface: Opening Doors to the East: The Crusades |
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LG 4 Machaut: Ma fin est mon commencement |
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Chapter 16 Singing in Friendship: The Renaissance Madrigal |
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79 | (6) |
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Social Music-Making in the Renaissance |
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The Madrigal: Linking Music and Poetry |
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Interface: Printing and Literacy |
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LG 5 Arcadelt: Il bianco e dolce cigno |
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LG 6 Farmer: Pair Phyllis |
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Chapter 17 Remember Me: Personalizing the Motet in the Renaissance |
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85 | (5) |
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LG 7 Josquin: Ave Maria . . . virgo serena |
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Chapter 18 Glory Be: Music for the Renaissance Mass |
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90 | (5) |
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The Reformation and Counter-Reformation |
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LG 8 Palestrina: Gloria, from Pope Marcellus Mass |
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Chapter 19 Instrumental Movements: Medieval and Renaissance Dance Music |
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95 | (7) |
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Instrumental Music in the Middle Ages and Renaissance |
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LG 9 Susato: Three Dances |
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A Comparison of Medieval, Renaissance, and Baroque Styles |
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99 | (3) |
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Prelude 3 Music as Exploration and Drama |
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102 | (6) |
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"Baroque" Art and Culture |
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Main Currents in Baroque Music |
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Chapter 20 Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music |
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108 | (5) |
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Nuns and Music in Baroque Italy |
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Interface: The Musical World of the Convent |
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LG 10 Cozzolani: Magnificat |
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Chapter 21 Performing Grief: Purcell and Early Opera |
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113 | (5) |
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LG 11 Purcell: Dido and Aeneas, Act III, Opening and Lament |
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Chapter 22 Musical Sermons: Bach and the Lutheran Cantata |
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118 | (5) |
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The Lutheran Chorale and Cantata |
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Bach and the Lutheran Cantata |
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LG 12 Bach: Cantata No. 140, Wachet auf, Nos. 1 and 4 |
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Chapter 23 Textures of Worship: Handel and the English Oratorio |
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123 | (5) |
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LG 13 Handel: Messiah, Nos. 18 and 44 |
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Chapter 24 Independent Study: Billings and the North American Sacred Tradition |
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128 | (6) |
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From "Lining-Out" to Singing Schools |
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Interface: Shape-Note Singing and Worship in North America |
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LG 14 Billings: David's Lamentation |
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Encounter: Blending Worship Traditions in Colonial Latin America |
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132 | (2) |
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Chapter 25 Grace and Grandeur: The Baroque Dance Suite |
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134 | (4) |
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LG 15 Handel: Water Music, Suite in D Major, Alia hornpipe |
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Chapter 26 Sounding Spring: Vivaldi and the Baroque Concerto |
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138 | (4) |
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LG 16 Vivaldi: Spring, from The Four Seasons, I |
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Chapter 27 Process as Meaning: Bach and the Fugue |
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142 | (8) |
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Keyboard Instruments in the Baroque Era |
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The Fugue and Its Devices |
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LG 17 Bach: Contrapunctus I, from The Art of Fugue |
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A Comparison of Baroque and Classical Styles |
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147 | (3) |
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PART 4 Eighteenth-Century Classicism |
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Prelude 4 Music as Order and Logic |
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150 | (6) |
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Classicism and Enlightenment Culture |
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Interface: Science, Philosophy, and Music in the Age of Enlightenment |
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Chapter 28 Musical Conversations: Haydn and Classical Chamber Music |
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156 | (6) |
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The Second Movement: Theme and Variations |
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LG 18 Haydn: String Quartet, Op. 76, No. 3 (Emperor), II |
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Chapter 29 The Ultimate Instrument: Haydn and the Symphony |
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162 | (4) |
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The Second Movement: ABA' |
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LG 19 Haydn: Symphony No. 100 in G Major (Military), II |
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Chapter 30 Expanding the Conversation: Mozart, Chamber Music, and Larger Forms |
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166 | (7) |
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The First Movement: Sonata-Allegro Form |
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The Third Movement: Minuet-and-Trio Form |
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LG 20 Mozart: Eine kleine Nachtmusik, I and III Encounter: North Indian Classical Music |
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172 | (1) |
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Chapter 31 Conversation with a Leader: The Classical Concerto |
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173 | (3) |
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Movements of the Classical Concerto |
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Mozart and the Piano Concerto |
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LG 21 Mozart: Piano Concerto in G Major, K. 453, I |
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Chapter 32 Personalizing the Conversation: Beethoven and the Classical Sonata |
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176 | (4) |
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The Sonata in the Classical Era |
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LG 22 Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight), I |
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Chapter 33 Disrupting the Conversation: Beethoven and the Symphony in Transition |
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180 | (7) |
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Interface: Beethoven and the Politics of Music |
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LG 23 Beethoven: Symphony No. 5 in C Minor |
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Chapter 34 Making It Real: Mozart and Classical Opera |
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187 | (6) |
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LG 24 Mozart: Don Giovanni, Act I, scene |
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2 | (191) |
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Chapter 35 Mourning a Hero: Mozart and the Requiem |
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193 | (7) |
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Sacred Music in the Classical Era |
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LG 25 Mozart: Dies irae, from Requiem |
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A Comparison of Classical and Romantic Styles |
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197 | (3) |
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PART 5 The Nineteenth Century |
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Prelude 5 Music as Passion and Individualism |
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200 | (6) |
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Chapter 36 Musical Reading: Schubert, Schumann, and the Early Romantic Lied |
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206 | (7) |
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Schumann and the Song Cycle |
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LG 27 Schumann: In the Lovely Month of May, from A Poet's Love |
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Chapter 37 Marketing Music: Foster and Early "Popular" Song |
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213 | (4) |
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Stephen Foster, Parlor Song, and Minstrelsy |
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LG 28 Foster: Jeanie with the Light Brown Hair |
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Chapter 38 Dancing at the Keyboard: Chopin and Romantic |
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217 | |
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The Nineteenth-Century Piano |
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The Short Lyric Piano Piece |
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LG 29 Chopin: Mazurka in B-flat Minor, Op. 24, No. |
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4 | (218) |
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Chapter 39 Musical Diaries: Hensel and Programmatic Piano Music |
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222 | (5) |
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Women and Music in Nineteenth-Century Society |
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Interface: Music, Gender, and Domesticity |
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LG 30 Hensel: September: At the River, from The Year |
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Chapter 40 Piano Triumphant: Gottschalk and Romantic Virtuosity |
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227 | (4) |
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Pianos in Public: Virtuosity and the Recital |
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Gottschalk: Composer for the Americas |
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LG 31 Gottschalk: The Banjo |
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Chapter 41 Personal Soundtracks: Berlioz and the Program Symphony |
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231 | (6) |
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Interface: Musical Instruments and New Technologies |
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LG 32 Berlioz: Symphonie fantastique, IV |
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Chapter 42 Sounding a Nation: Grieg and Orchestral Nationalism |
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237 | (6) |
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Varieties of Orchestral Program Music |
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LG 33 Grieg: Peer Gynt, Suite No. 1, excerpts |
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Chapter 43 Absolutely Classic: Brahms and the Nineteenth-Century Symphony |
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243 | (4) |
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Absolute Music in the Romantic Era |
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LG 34 Brahms: Symphony No. 3 in F Major, III |
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Chapter 44 Multimedia Hits: Verdi and Italian Romantic Opera |
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247 | (9) |
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Women and Nineteenth-Century Opera |
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LG 35 Verdi: Rigoletto, Act III, excerpts |
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254 | (2) |
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Chapter 45 Total Art: Wagner and German Romantic Opera |
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256 | (6) |
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Wagner and German Musical Theater |
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LG 36 Wagner: Die Walkiire, Act III, Opening and Finale |
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Chapter 46 Poetry in Motion: Tchaikovsky and the Ballet |
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262 | (4) |
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Tchaikovsky and The Nutcracker |
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LG 37 Tchaikovsky: The Nutcracker, Two Dances |
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Chapter 47 Exotic Allure: Puccini and the Italian Verismo Tradition |
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266 | (6) |
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Puccini and Verismo Opera |
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LG 38 Puccini: Madame Butterfly, "Un bel di" |
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Encounter: Japanese Music |
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271 | (1) |
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Chapter 48 Accepting Death: Faure and the Requiem |
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272 | (4) |
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Faure and Late French Romanticism |
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LG 39 Faure: Libera me, from Requiem |
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Chapter 49 Mythical Impressions: Program Music at the End of the Nineteenth Century |
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276 | (6) |
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Symbolism and Impressionism in Paris |
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Translating Impressions into Sound |
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Interface: Music, World Colonization, and the Exotic |
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LG 40 Debussy: Prelude to "The Afternoon of a Faun" |
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Chapter 50 Jubilees and Jubilation: The African American Spiritual Tradition |
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282 | (5) |
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Spirituals and the Jubilee Tradition |
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Spirituals and the Art-Song Tradition |
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LG 41 Swing Low, Sweet Chariot |
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Chapter 51 A Good Beat: American Vernacular Music at the Close of an Era |
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287 | (7) |
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John Philip Sousa and the Band Tradition |
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LG 42 Joplin: Maple Leaf Rag |
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A Comparison of Romantic, Impressionist, and Early Twentieth-Century Styles |
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291 | (3) |
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PART 6 Twentieth-Century Modernism |
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Prelude 6 Making Music Modern |
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294 | (6) |
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Features of Early Musical Modernism |
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Chapter 52 Anything Goes: Schoenberg and Musical Expressionism |
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300 | (4) |
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The Emancipation of Dissonance |
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LG 43 Schoenberg: Pierrot lunaire, No. |
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18 | (286) |
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Chapter 53 Calculated Shock: Stravinsky and Modernist Multimedia |
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304 | (6) |
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The Rite of Spring: Collaborative Multimedia |
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LG 44 Stravinsky: The Rite of Spring, Part I, excerpts |
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Chapter 54 Still Sacred: Religious Music in the Twentieth Century |
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310 | (5) |
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Post-Impressionism, Lili Boulanger, and the Prix de Rome |
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Interface: The Consummate Pedagogue |
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24 | (291) |
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Chapter 55 War Is Hell: Berg and Expressionist Opera |
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315 | (6) |
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The Second Viennese School and the Twelve-Tone Method |
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LG 46 Berg: Wozzeck, Act III, scene |
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4 | (317) |
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Chapter 56 American Intersections: Jazz and Blues Traditions |
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321 | (7) |
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The Jazz Singer Billie Holiday |
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Duke Ellington and the Swing Era |
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LG 47 Holiday: Billie's Blues |
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LG 48 Strayhorn: Take the A Train |
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Chapter 57 Modern America: Still and Musical Modernism in the United States |
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328 | (5) |
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Interface: Identity and the Arts in the Harlem Renaissance |
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LG 49 Still: Suite for Violin and Piano, III |
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Chapter 58 Folk Opera? Gershwin and Jazz as "Art" |
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333 | (4) |
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LG 50 Gershwin: Summertime, from Porgy and Bess |
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Chapter 59 Sounds American: Ives, Copland, and Musical Nationalism |
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337 | (10) |
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Ives and New England Modernism |
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Copland and the American Orchestral Landscape |
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LG 51 Ives: Country Band March |
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LG 52 Copland: Appalachian Spring, excerpts Encounter: American Folk Traditions |
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342 | (5) |
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Chapter 60 Also American: Revueltas and Mexican Musical Modernism |
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347 | (6) |
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Musical Traditions of Mexico |
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Silvestre Revueltas: "Mestizo Realist" |
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LG 53 Revueltas: Homage to Federico Garcia Lorca, III |
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Encounter: Musical Traditions in Mexico |
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350 | (3) |
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Chapter 61 Classic Rethinking: Bartok and the "Neo-Classical" Turn |
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353 | (7) |
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Bartok and the Eastern European Tradition |
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Interface: Anthropology and Traditional Music |
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LG 54 Bartok: Interrupted Intermezzo, from Concerto for Orchestra |
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PART 7 Postmodernism: The Twentieth Century and Beyond |
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Prelude 7 Beyond Modernism? |
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360 | (6) |
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Music in a Postmodern World Encounter: Music Technology |
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366 | (2) |
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Chapter 62 New Sound Palettes: Mid-Twentieth-Century American Experimentalists |
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368 | (8) |
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George Crumb and Avant-Garde Virtuosity |
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LG 55 Cage: Sonata V, from Sonatas and Interludes |
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LG 56 Crumb: Caballito negro Encounter: Javanese Gamelan |
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374 | (2) |
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Chapter 63 Staged Sentiment: Bernstein and American Musical Theater |
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376 | (8) |
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Musical Theater in North America |
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Leonard Bernstein and West Side Story |
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Interface: Music as Literature |
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LG 57 Bernstein: West Side Story, excerpts |
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Chapter 64 Less Is More: Reich and Minimalist Music |
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384 | (6) |
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From Twelve-Tone to Process and Phase |
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LG 58 Reich: Electric Counterpoint, III Encounter: East African Drumming |
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388 | (2) |
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Chapter 65 Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings |
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390 | (7) |
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Bob Dylan as Singer-Songwriter |
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John Corigliano and the Contemporary Song Cycle |
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LG 59 Dylan: Mr. Tambourine Man |
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LG 60 Corigliano: Prelude, from Mr. Tambourine Man |
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Chapter 66 Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century |
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397 | (4) |
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LG 61 Higdon: blue cathedral, excerpt |
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Chapter 67 Underscoring Meaning: Music for Film |
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401 | (9) |
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John Williams: Star Wars and Beyond |
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LG 62 Williams: Imperial March, from The Empire Strikes Back |
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Tan Dun: Blending East and West |
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LG 63 Tan Dun: Farewell, from Crouching Tiger, Hidden Dragon Encounter: Video Games |
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408 | (2) |
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Chapter 68 Icons in Sound: Tavener and Postmodern Orthodoxy |
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410 | (4) |
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Tavener and Greek Orthodoxy LG |
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64 | (350) |
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Tavener: A Hymn to the Mother of God |
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Chapter 69 Reality Shows: Adams and Contemporary Opera |
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414 | |
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John Adams and Post-Minimalism |
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LG 65 Adams: Doctor Atomic, "At the sight of this" |
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| Appendix I Musical Notation |
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1 | (4) |
| Appendix II Glossary |
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5 | (15) |
| Credits |
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20 | (4) |
| Index |
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24 | |
