Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
- ISBN: 9780077260705 | 0077260708
- Cover: Nonspecific Binding
- Copyright: 7/10/2008
One of the most successful new texts in Music Appreciation in over a decade,Experience Musicprovides an innovative approach to the fundamental challenge of the music appreciation course: the development of real listening skills in each student. With its unique three-part chapter structure in which one piece of music is experienced three times over the course of the chapter, the text offers a fresh, exciting, and more effective way to help students appreciate and understand great music of all kinds.This second edition has been carefully revised to build upon and refine the text's highly effective approach through extended pedagogy, more focused features, and new and updated Listening Guides.A program of well-crafted supplementary materials continues to serve the needs of students as well as instructors using the text. Each new text is packaged with a set of two audio CDs featuring key works addressed in the text and Online Learning Center; additional musical selections are also available for optional purchase. This edition moves the content of the companion CD-ROM to the Online Learning Center, providing open access for all students to the many activities and exercises. Within the text itself and in the online components,Experience Musicprovides the tools that help students listen more actively and appreciatively.
Katherine Charlton Calkins is returning to the position of chair of the music department at Mt. San Antonio College in fall, 2008, after having had a full-year sabbatical to study music by women composers. As a performer, she has a degree in classical guitar and has toured in Southern France and Tuscany playing lute with an early music group with her late, first husband Andrew Charlton. She also played percussion in the California University at Fullerton Wind Ensemble when they toured in Japan. She got her M.A. degree in music history and has continued with further graduate study in that same field. As a teacher, she started the guitar program at Mt. San Antonio College in 1974, where she continues to teach music history and appreciation. She began to teach a course in the history of rock music in the early nineteen-eighties and decided to try writing her own book because she did not really like any that were available at that time. That book, Rock Music Styles: A History was published in its first edition in 1990 and is now out in its fifth edition, published by McGraw-Hill Higher Education. Her second book, Experience Music, also published by McGraw-Hill, will be out in its second edition summer of 2008... .
Robert Hickok is Professor Emeritus of Music (Choral Conducting) from the University of California, Irvine. .
(* indicates the feature is new to this edition)
Bowed Stringed Instruments
Indefinite Pitch
The Orchestra
The Wind Ensemble
The Conductor
Short Listening Example: Beginning of “Salve Regina”
* Listening Guide: “Dies irae” (“Day of Wrath”) chant
The Live Experience
* Life in a Medieval Convent
The Mass
Polyphony and Measured Rhythm
* Listening Guide: Viderunt omnes (All have seen) by Léonin
Hearing the Difference * “Dies irae” and Machaut’s “Agnus Dei”
Characteristics of Medieval Music
Listening Guide: “Ave Maria,” Josquin des Prez
Giovanni Pierluigi da Palestrina
Listening Guide: “Kyrie,” Palestrina
Hearing the Difference
* Josquin’s “Ave Maria” and Palestrina’s “Kyrie”
The Madrigal in England
Listening Guide: “Fair Phyllis” by Farmer
The Live Experience
Madrigal Singing in Homes
The Chanson in France
The Lied in Germany
Lute Songs
* Listening Guide: “Flow my tears” John Dowland
Renaissance Instrumental Music
Listening Guide: “Three Dances from Terpsichore,” Praetorius
The Live Experience
Renaissance Dances
Summary
Characteristics of Renaissance Music
The Live Experience
Opera Singers of the Baroque
Opera Outside of Italy
Hearing the Difference * Dowland’s “Flow my tears” and Purcell’s “When I am laid in earth”
Summary
Basso Continuo Players
*mvt. 7
Summary
Listening Guides: “Comfort ye,”
“Ev’ry valley,”
and “Hallelujah,” Handel
Hearing the Difference
* Bach’s Cantata no. 140 “Wachet Auf” (“Sleepers Awake”), seventh movement and Handel’s “Hallelujah,” from Messiah
The Live Experience
* Oratorio Performers
The Live Experience
Playing the Organ
* Listening Guide: Aria from Sonata for violin and basso continuo, Jacquet de la Guerre
Summary
Playing Solos in Baroque Music
* mvt. 2
* mvt. 3
The Live Experience Attending a Concert
Summary
Characteristics of Baroque Music
* Why composers write “boring” slow movements
The Duties of the Conductor
Development
Recapitulation
* Listening Guide: Symphony no. 40 in G Minor, mvt. 1, by Mozart
Hearing the Difference
* Vivaldi’s “Spring,” first movement from The Four Seasons, and Mozart’s Symphony no. 40 in G Minor, first movement
Summary
The Live Experience
* What composers need to know to write their music
Listening Guide: Piano Concerto no. 23 in A Major, mvt. 1, Mozart
Hearing the Difference
* Bach’s Brandenburg Concerto no. 5, first movement and Mozart’s Piano Concerto no. 23, first movement
Summary
The Live Experience
The Performance of Chamber Music
Summary
The Characters
The Plot
*Listening Guide: “Non so più cosa son” (“I don’t know what I am any more”) from The Marriage of Figaro, Act I, Mozart
Listening Guide: “Non più andrai” (“No More Will You”) from The Marriage of Figaro, Act. 1, Mozart
The Live Experience
Classical and Romantic Opera Singers
Summary
Hearing the Difference
* Haydn’s Symphony no. 94, second movement and Beethoven’s Symphony no. 5, second movement
Summary
Characteristics of Classical Music
* Listening Guide: “Leibst du um Schönheit” (“If you love for beauty’s sake”), Clara Schumann
Summary
* Listening Guide: “Erlkönig,” a transcription by Liszt
Summary
Hearing the Difference
Beethoven’s Symphony no. 5, first movement and Berlioz’s Symphonie fantastique, fifth movement
The Importance of the Program in Program Music
Summary
Summary
The Live Experience
* Shakespeare’s “Romeo and Juliet” retold in many different ways
Summary
Hearing the Difference
Vivaldi’s “Spring,” first movement, from The Four Seasons, and Mendelssohn’s Violin Concerto, first movement
Summary
Summary
Summary
The Live Experience
* Attending an opera
Summary
The Live Experience
Productions of Operas
Summary
Characteristics of Romantic Music
Hearing the Difference Smetana’s “The Moldau” and Debussy’s Prélude a L’après-midi d’un faune (Prelude to “The Afternoon of a Faun)
Summary
Summary
Summary
Characteristics of Twentieth-Century Music (to World War II)
After the Civil War
Listening Guide: “Ah, Love, but a Day,” Beach
Improvisation
Listening Guide: “It Don’t Mean a Thing, If It Ain’t Got that Swing,” Ellington
Summary
Hearing the Difference
Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”
Summary
Summary
Hearing the Difference
* Beethoven’s Symphony no. 5, first movement and Zwilich’s Symphony no. 1, first movement
Summary
Musicals Compared to Operas
Summary
Summary
Note: A chapter on Rock Music will be available on the Web Site for the book
(3:24)
Summary
Hearing the Difference
* “Kang Mandor” by Ujang Suryana and Sonata V by John Cage
The Live Experience
Performance Situations for Electronic Music
The Live Experience
* Performing in an Aleatoric Work
Summary
Summary
Characteristics of Non-Western-Influenced Music in the West
Preface
Prelude - The Fundamentals of Music
Chapter 1 – Elements of Music: Sound, Rhythm, Melody, and Harmony
Sound
Rhythm
Melody
Harmony
Chapter 2 – Elements That Structure Music – Key, Texture, and Form
Key
Texture
Form
Chapter 3 – Musical Instruments and Ensembles
Voices and Vocal Ensembles
Stringed Instruments
Plucked Stringed InstrumentsBowed Stringed Instruments
Woodwinds
Brasses
Percussion Instruments
Definite PitchIndefinite Pitch
Keyboard Instruments
Electronic Instruments
Instruments in Non-Western Cultures
Instrumental Ensembles
Chamber EnsemblesThe Orchestra
The Wind Ensemble
The Conductor
Prelude – The Culture of Medieval Europe
Chapter 4 – Medieval Music
First Hearing/Finale:
Viderunt omnes (All have seen), LéoninMedieval Sacred Music
Gregorian ChantShort Listening Example: Beginning of “Salve Regina”
* Listening Guide: “Dies irae” (“Day of Wrath”) chant
Hildegard of Bingen
* Listening Guide: O pastor animarum (Shepherd of souls), Hildegard of BingenThe Live Experience
* Life in a Medieval Convent
The Mass
Polyphony and Measured Rhythm
* Listening Guide: Viderunt omnes (All have seen) by Léonin
Guillaume de Machaut
Listening Guide: “Agnus Dei,” MachautHearing the Difference * “Dies irae” and Machaut’s “Agnus Dei”
Medieval Secular Music
Improvised Accompaniment to Monophonic Songs * Listening Guide: “Tant m’abelis” (“So much I love”), Berenguier de PalouThe Motet
SummaryCharacteristics of Medieval Music
Prelude – The Renaissance: The Rebirth of Humanism
Chapter 5 – Renaissance Music
First Hearing/Finale:
“Ave Maria,” Josquin des PrezRenaissance Sacred Music
Josquin des PrezListening Guide: “Ave Maria,” Josquin des Prez
Giovanni Pierluigi da Palestrina
Listening Guide: “Kyrie,” Palestrina
Hearing the Difference
* Josquin’s “Ave Maria” and Palestrina’s “Kyrie”
Renaissance Secular Music
The Madrigal in ItalyThe Madrigal in England
Listening Guide: “Fair Phyllis” by Farmer
The Live Experience
Madrigal Singing in Homes
The Chanson in France
The Lied in Germany
Lute Songs
* Listening Guide: “Flow my tears” John Dowland
Renaissance Instrumental Music
Listening Guide: “Three Dances from Terpsichore,” Praetorius
The Live Experience
Renaissance Dances
Summary
Characteristics of Renaissance Music
Prelude – The Triumph of the Baroque Style
Chapter 6 – Baroque Opera
First Hearing/Finale:
“Thy Hand Belinda,” “When I am laid in earth,” PurcellThe Birth of Opera
Baroque Vocal Styles
Claudio Monteverdi
Listening Guide: “Tu se’ morta” (“You are dead”) from OrfeoThe Live Experience
Opera Singers of the Baroque
Opera Outside of Italy
Henry Purcell
Listening Guide: * “Thy Hand Belinda,” “When I am laid in earth,” PurcellHearing the Difference * Dowland’s “Flow my tears” and Purcell’s “When I am laid in earth”
Summary
Chapter 7 – Cantata
First Hearing/Finale:
Cantata no. 140 “Wachet Auf” (“Sleepers Awake”) mvt. 7, BachThe Secular Cantata
The Chorale
The Live ExperienceBasso Continuo Players
The Sacred Cantata
Johann Sebastian Bach
* Listening Guide: Cantata no. 140 “Wachet Auf,” (“Sleepers Awake”) *mvt. 4*mvt. 7
Summary
Chapter 8 – Oratorio
First Hearing/Finale:
Messiah, “Ev’ry valley,” HandelOratorio
George Frideric Handel
MessiahListening Guides: “Comfort ye,”
“Ev’ry valley,”
and “Hallelujah,” Handel
Hearing the Difference
* Bach’s Cantata no. 140 “Wachet Auf” (“Sleepers Awake”), seventh movement and Handel’s “Hallelujah,” from Messiah
The Live Experience
* Oratorio Performers
The Passion
SummaryChapter 9 – Baroque Solo and Chamber Music
First Hearing/Finale:
“The Little Fugue in G Minor,” BachKeyboard Music
Fugue
Listening Guide: “The Little Fugue in G Minor,” BachThe Live Experience
Playing the Organ
Suite
* Listening Guide: Bourree I from Cello Suite no. 3 in C major, BWV 1009, BachSonata
Elisabeth-Claude Jacquet de la Guerre* Listening Guide: Aria from Sonata for violin and basso continuo, Jacquet de la Guerre
Summary
Chapter 10 – The Baroque Orchestra
First Hearing/Finale:
“Spring,” mvt. 1, VivaldiThe Orchestra
* Listening Guide: Menuet from Water Music, HandelThe Concerto
The Live ExperiencePlaying Solos in Baroque Music
Concerto Grosso
Listening Guide: Brandenburg 5, mvt. 1, BachSolo Concerto
Antonio Vivaldi
Listening Guide: “Spring,” mvt. 1, Vivaldi* mvt. 2
* mvt. 3
The Live Experience Attending a Concert
Summary
Characteristics of Baroque Music
Prelude – The Classical Era: Reason and Revolution
Chapter 11 – The Classical Symphony
First Hearing/Finale:
Symphony no. 94 in G Major, “Surprise,” mvt. 2, HaydnThree and Four Movement Structures
The Live Experience* Why composers write “boring” slow movements
The Classical Orchestra
The Live ExperienceThe Duties of the Conductor
Wolfgang Amadeus Mozart
Single Movement Sonata Form
ExpositionDevelopment
Recapitulation
* Listening Guide: Symphony no. 40 in G Minor, mvt. 1, by Mozart
Theme and Variations Form
* Listening Guide: Symphony no. 94 in G Major, mvt., 2 “Surprise” by HaydnMinuet and Trio Form
Listening Guide: Symphony no. 40 in G Minor, mvt. 3, by MozartHearing the Difference
* Vivaldi’s “Spring,” first movement from The Four Seasons, and Mozart’s Symphony no. 40 in G Minor, first movement
Summary
Chapter 12 – The Classical Concerto
First Hearing/Finale:
Piano Concerto no. 23 in A Major, mvt. 1, Mozart (Move material from the Live Experience box in the first edition to the new general chapter)The Live Experience
* What composers need to know to write their music
Listening Guide: Piano Concerto no. 23 in A Major, mvt. 1, Mozart
Hearing the Difference
* Bach’s Brandenburg Concerto no. 5, first movement and Mozart’s Piano Concerto no. 23, first movement
Summary
Chapter 13 – Classical Chamber Music
First Hearing/Finale:
String Quartet op. 33, no. 3, mvt.4, HaydnFranz Joseph Haydn
String Quartets
Listening Guide: String Quartet op. 33, no. 3, mvt.4, HaydnChamber Sonatas
*Listening Guide: Grande Sonata no. 85 for flute and guitar, mvt.3, Scherzo, GiulianiThe Live Experience
The Performance of Chamber Music
Summary
Chapter 14 – Classical Vocal Music
First Hearing/Finale:
“Non più andrai” (“No More Will You”) from The Marriage of Figaro, Act 1, MozartHaydn’s Vocal Music
Classical Opera
The Marriage of FigaroThe Characters
The Plot
*Listening Guide: “Non so più cosa son” (“I don’t know what I am any more”) from The Marriage of Figaro, Act I, Mozart
Listening Guide: “Non più andrai” (“No More Will You”) from The Marriage of Figaro, Act. 1, Mozart
The Live Experience
Classical and Romantic Opera Singers
Summary
Chapter 15 – The Music of Beethoven
First Hearing/Finale:
Sym. no. 5 in C Minor, mvt. 1, BeethovenLudwig van Beethoven
Listening Guides: Sym. no. 5 in C Minor, mvt. 1 BeethovenHearing the Difference
* Haydn’s Symphony no. 94, second movement and Beethoven’s Symphony no. 5, second movement
The Classical Piano
*Listening Guide: Moonlight Sonata, mvt. 1, BeethovenSummary
Characteristics of Classical Music
Prelude – Music of the Romantic Era
Chapter 16 – Romantic Songs
First Hearing/Finale:
“Erlkönig” (“King of the Elves”), SchubertThe Salon
Art Song
Franz Schubert
Listening Guide: “Erlkönig” (“King of the Elves”)Robert and Clara Schumann
Listening Guide: “Im wunderschönen Monat Mai” (“In the wonderfully lovely month of May”) from Dichterliebe A Poet’s Love, R. Schumann* Listening Guide: “Leibst du um Schönheit” (“If you love for beauty’s sake”), Clara Schumann
Summary
Chapter 17 – Romantic Piano Music
First Hearing/Finale:
Nocturne, Op.9, no.2, ChopinFrederic Chopin and Franz Liszt
* Listening Guide: Nocturne, Op.9, no.2, Chopin* Listening Guide: “Erlkönig,” a transcription by Liszt
Summary
Chapter 18 – Romantic Program Music
First Hearing/Finale:
Symphonie fantastique, mvt. 5, BerliozHector Berlioz
Smphonie fantastique (The Fantastic Symphony) Listening Guide: Symphonie fantastique, mvt. 5, BerliozHearing the Difference
Beethoven’s Symphony no. 5, first movement and Berlioz’s Symphonie fantastique, fifth movement
Other Program Music
The Live ExperienceThe Importance of the Program in Program Music
Summary
Chapter 19 – Nationalism in the Romantic Era
First Hearing/Finale:
The Moldau, SmetanaBedrich Smetana
Listening Guide: The Moldau, SmetanaSummary
Chapter 20 – The Concert Overture
First Hearing/Finale:
Romeo and Juliet Overture, TchaikovskyPeter Ilyich Tchaikovsky
Listening Guide: Romeo and Juliet Overture, TchaikovskyThe Live Experience
* Shakespeare’s “Romeo and Juliet” retold in many different ways
Summary
Chapter 21 – The Romantic Concerto
First Hearing/Finale:
Violin Concerto in E Minor, mvt. 1, MendelssohnFelix Mendelssohn and Fanny Mendelssohn Hensel
Mendelssohn’s Concerto
Listening Guide: Violin Concerto in E Minor, mvt. 1, MendelssohnHearing the Difference
Vivaldi’s “Spring,” first movement, from The Four Seasons, and Mendelssohn’s Violin Concerto, first movement
Summary
Chapter 22 – Romantic Choral Music
First Hearing/Finale:
Ein Deutsches Requiem (A German Requiem), op. 45, mvt.4, BrahmsJohannes Brahms
Brahms’s Requiem
* Listening Guide: Ein Deutsches Requiem (A German Requiem), op. 45, mvt.4Summary
Chapter 23 - Late Romantic Symphonies
First Hearing/Finale
: New World Symphony, mvt. 4, DvorákRomantic Symphonies
* Listening Guide: Brahms Sym. IV, mvt. 4Antonin Dvorak
Listening Guide: New World Symphony, mvt. 4, DvorákOther Late Romantics
Gustav Mahler
Listening Guide: Symphony no. 1, mvt. 3, MahlerSummary
Chapter 24 – Romantic Opera in France and Italy
First Hearing/Finale:
“O terra, addio” (Oh earth, goodbye”) from Aida, VerdiFrench Opera
Italian Opera
Giuseppe Verdi
* Listening Guide: “O terra, addio” (Oh, earth, goodbye”) from Aida, VerdiGiacomo Puccini
Listening Guide: “Si, mi chiamano Mimi” (“Yes, they call me Mimi”) from La Bohème, Act 1The Live Experience
* Attending an opera
Summary
Chapter 25 – Romantic German Opera
First Hearing/Finale:
“Grane, mein Ross!” (“Grane, my horse!”) and finale, WagnerRichard Wagner
* Listening Guide: “Grane, mein Ross!” (“Grane, my horse!”) and finale from Götterdämmerung, WagnerThe Live Experience
Productions of Operas
Summary
Characteristics of Romantic Music
Prelude – The Early Twentieth Century
Chapter 26 – Impressionism and Symbolism
First Hearing/Finale:
Prélude a L’apres-midi dun faune (Prelude to the Afternoon ofa Faun), DebussyClaude Debussy
Listening Guide: Prélude a L’apres-midi dun faune (Prelude to the Afternoon ofa Faun)Hearing the Difference Smetana’s “The Moldau” and Debussy’s Prélude a L’après-midi d’un faune (Prelude to “The Afternoon of a Faun)
Maurice Ravel
SummaryChapter 27 – Primitivism and Neoclassicism
First Hearing/Finale:
Le Sacre du printemps (The Rite of Spring), Introduction through “The Ritual of Abduction,” StravinskyPrimitivism
Igor Stravinsky
Listening Guide: Le Sacre du printemps (The Rite of Spring), Introduction through “The Ritual of Abduction,” StravinskyNeoclassicism
* Listening Guide: The Dumbarton Oaks Concerto, mvt.1, StravinskySummary
Chapter 28 – Eastern European Nationalism
First Hearing/Finale:
The Concerto for Orchestra, mvt. 4, BartókBela Bartók
* Listening Guide: The Concerto for Orchestra, mvt. 4, BartókSummary
Chapter 29 – Germanic Expressionism and the Development of Serialism
First Hearing/Finale:
No. 18, “Der Mondfleck” (“Moonfleck”) from Pierrot lunaire (Moonstruck Pierrot), Op. 21, SchoenbergArnold Schoenberg
* Listening Guide: No. 18, “Der Mondfleck” (“Moonfleck”) from Pierrot lunaire (Moonstruck Pierrot), Op. 21Other Serial Composers
* Listening Guide: Five Pieces for Orchestra, Op. 10, mvt. 3, WebernSummary
Characteristics of Twentieth-Century Music (to World War II)
Prelude – American Innovations in the Arts
Chapter 30 – American Music before World War II
First Hearing/Finale:
“When Jesus Wept,” BillingsThe Seventeenth Century
The Eighteenth Century
Listening Guide: “When Jesus Wept,” BillingsThe Nineteenth Century
Listening Guide: “Jeanie with the Light Brown Hair” FosterAfter the Civil War
Listening Guide: “Ah, Love, but a Day,” Beach
Canadian Music
SummaryChapter 31 – Early Jazz Styles
First Hearing/Finale:
“Lost Your Head Blues,” SmithOrigins of Jazz
Listening Guide: “Village Celebration” by the Mende Tribe of Sierra LeoneRagtime
*Listening Guide: “Maple Leaf Rag,” JoplinThe Blues
Listening Guide: “Lost Your Head Blues,” SmithSwing
The Live ExperienceImprovisation
Listening Guide: “It Don’t Mean a Thing, If It Ain’t Got that Swing,” Ellington
Summary
Chapter 32 – Developments in Jazz in the Late Twentieth Century
First Hearing/Finale:
“Ko Ko,” ParkerBebop
Listening Guide: “Ko Ko,” ParkerCool Jazz
Fusion
Listening Guide: “Miles Runs the Voodoo Down” (beginning), DavisHearing the Difference
Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”
Summary
Chapter 33 – American Classical Music Influenced by Early Jazz
First Hearing/Finale:
Afro-American Symphony, mvt. 1, StillGeorge Gershwin
Listening Guide: Rhapsody in BlueWilliam Grant Still
Listening Guide: Afro-American Symphony, mvt. 1Summary
Chapter 34 – Twentieth-Century American Classical Styles
First Hearing/Finale:
“Fanfare for the Common Man,” CoplandCharles Ives
*Listening Guide: “The Unanswered Question,”Aaron Copland
Listening Guide: “Fanfare for the Common Man”Ellen Taafe Zwilich
Listening Guide: Symphony no. 1, mvt. 1Hearing the Difference
* Beethoven’s Symphony no. 5, first movement and Zwilich’s Symphony no. 1, first movement
Summary
Chapter 35 – Musical Theater
First Hearing/Finale:
“America,” from West Side Story, BernsteinBroadway Musicals
Leonard Bernstein
Listening Guide: “America,” from West Side StoryLater Musicals
The Live ExperienceMusicals Compared to Operas
Summary
Chapter 36 – Film Music
First Hearing/Finale:
Main Title Theme from Star Wars, WilliamsThe Earliest Film Music
Early Sound Films
Later Film Scoring Practices
Listening Guide: Main Title Theme from Star Wars, WilliamsSummary
Note: A chapter on Rock Music will be available on the Web Site for the book
Prelude – New Ideas and Styles Developed out of Twentieth-Century Internationalism
Chapter 37 – World Music
First Hearing/Finale:
“Kang Mandor” Ujang SuryanaMusical Elements in Non-Western Musics
Indonesian
- “Kang Mandor” Ujang Suryana(3:24)
Chinese
– “Moonlight on the Ching Yang River” Yo Su-Nan, T’ang DynastyIndian
– * “Folk Melody based on Raga Des”African
- “Gadzo” (“Kayiboe, The Child is not Matured”), Ewe of GhanaSummary
Chapter 38 – Post World War II Innovations
First Hearing/Finale:
“The Banshee,” CowellHenry Cowell
* Listening Guide: “The Banshee”John Cage
Listening Guide: Sonata VHearing the Difference
* “Kang Mandor” by Ujang Suryana and Sonata V by John Cage
Electronic Music
Edgard Varèse
Listening Guide: “Poème électronique” (excerpt)The Live Experience
Performance Situations for Electronic Music
Terry Riley
* Listening Guide: “In C,” (excerpt) RileyThe Live Experience
* Performing in an Aleatoric Work
Summary
Chapter 39– Minimalism
First Hearing/Finale
“Company,” mvt. 2, GlassPhilip Glass
Listening Guide: “Company,” mvt. 2Steve Reich
* Listening Guide: “Electric Counterpoint,” mvt. 3John Adams
* Listening Guide: “Short Ride in a Fast Machine”Summary
Characteristics of Non-Western-Influenced Music in the West
Postlude – Use Your Listening Skills on Music You Listen to Everyday
Glossary
Credits
Performance Information for the 2-CD Set
Index
What is included with this book?
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.