Music
, by Manoff, Tom
- ISBN: 9780393951943 | 0393951944
- Cover: Paperback
- Copyright: 2/1/1982
This book is meant to prepare the way for profound moments of musical appreciation, an attempt to deepen the meaning of such experiences through a living language of music.
| Preface | p. xvii |
| Foreword | p. xix |
| Introduction | p. 1 |
| Listening Beyond Style | |
| Music and Culture | |
| Genre | |
| The Importance of Stylistic Detail | |
| The Historical Connection | |
| The Interlocking Strands of Musical Culture | |
| Materials of Music-I | p. 7 |
| The Demonstration Melody | |
| Rhythm | |
| Some Aspects of Rhythmic Organization | |
| Pulse, Beat, and Periodicity | |
| Tempo | |
| Meter | |
| Time Signatures | |
| Syncopation | |
| Forward Potential | |
| The Rhythmic Bond | |
| Phrase and Form | |
| Rhythm Gives Life to Form | |
| The Notation of Rhythm | |
| Notes Control Space | |
| Rests | |
| Score | |
| Rhythmic Texture | |
| Materials of Music-II | p. 27 |
| Pitch | |
| Pitch Names | |
| Accidentals | |
| Dynamics | |
| Timbre--Tone | |
| Instrumental Timbre | |
| Pitch Range | |
| Melody and Harmony | |
| Interval | |
| Consonant and Dissonant Intervals | |
| Chord | |
| Melody and Scale | |
| Half Steps and Whole Steps | |
| Major and Minor Scales | |
| The Chromatic Scale | |
| Church Modes | |
| Melodic Shape | |
| Melodic Shape and Scale | |
| Form, Shape, and Song | |
| Melody and Motive | |
| Variation | |
| Describing Melody | |
| Development | |
| Melody and Motive--Summary | |
| Texture--Monophonic and Polyphonic | |
| Foreground and Background | |
| Polyphonic Texture | |
| The Art of Counterpoint | |
| Melodic Shape in Polyphony | |
| Dissonant Polyphony | |
| The Interplay between Linear and Harmonic Organization | |
| Texture--A Continuum | |
| Materials of Music-III | p. 70 |
| The Magic of the String | |
| The Octave | |
| Octave and Scale | |
| Tonality | |
| Tonality and Harmony | |
| Tonality and Key | |
| Tonality and Form | |
| Harmonic Series, Tonality--Summary | |
| The Major-Minor Tonal System | |
| Modal Harmony | |
| Cultural Conditioning and the Major-Minor Tradition | |
| Basic Principles of Form | |
| Repetition | |
| Contrast | |
| Unity and Variety | |
| Balance and Proportion | |
| Summary | |
| Describing Form | |
| Phrase-Groups | |
| Phrase Design | |
| Sectional Forms: Binary and Ternary | |
| Continuous Form | |
| Introduction and Coda | |
| Music as a Universal Art | p. 95 |
| The Art of Music: A Universal Perspective | |
| Music as a Heightened Experience | |
| Music Is Motion | |
| The Ancient Unity | |
| Dance and Drama as Part of the Ancient Unity | |
| "Soul Train" and Greek Drama | |
| Song | |
| Song--A Source of Melody | |
| The Importance of the Ancient Unity | |
| Universal Forms Affecting All Music: A Summary | |
| The Repetition of Basic Forms | |
| The Flexible Interplay of Basic Forms | |
| Music across Distance and Time | |
| A Living Language of Music | |
| Responding to a Musical Style | |
| "Good" and "Bad" Music within a Style | |
| "Good" and "Bad" Music in a More Complex Stylistic World | |
| Complexity in Musical Styles | |
| The Influences on a Musical Style | |
| The Western Notated Tradition | |
| The Folk-Popular Tradition | |
| Listening Beyond Style: A Summary | |
| Some Procedures for Listening Beyond Style | |
| Chant, the Sacred Language | |
| Gregorian Chant | |
| Gregorian Chant: Summary of Characteristics | |
| Overview of Span I | p. 123 |
| From Medieval through Baroque | |
| The Idea of Evolution in Musical Styles | |
| Dance, Song, Chant, and Drama in Medieval Europe | |
| Notated Polyphony | |
| Notation Allows for a New Type of Musical Structure | |
| The New Tradition Was Firmly Rooted in the Living Language | |
| The Changing Musical Language | |
| The Growth of Notated Instrumental Music | |
| Melodic Styles | |
| Rhythmic Practices | |
| Polyphonic Techniques | |
| The Growth of Harmony | |
| Important Genres | |
| The Changing Society | |
| Medieval and Renaissance Music | p. 149 |
| Medieval Reality | |
| Medieval Sense of Time | |
| Lack of Sensory Clutter | |
| Sound as Truth | |
| Unity of Sacred and Secular Experience | |
| The Importance of Ritual in Medieval Society | |
| The Medieval Cathedral--Music as Sacred Science | |
| Isorhythm--Mathematical Abstraction in Medieval Music | |
| The Renaissance | |
| The Harmony of the Spheres | |
| The Renaissance Motet | |
| Continuous Imitation | |
| Madrigal and Related Vocal Genres | |
| The Mass | |
| The Sections of the Mass | |
| The Importance of the Mass during Span I | |
| The Mass in Cultural Context | |
| The Ancient Unity | |
| Pattern and Form | |
| The Mass Beyond Style | |
| Afterthought | |
| The Baroque | p. 172 |
| Opera: The Musical Drama of Europe | |
| The Cultural Roots of Opera | |
| The Florentine Camerata | |
| Henry Purcell, Dido and Aeneas | |
| Baroque Evocation of Feeling: Doctrine of the Affections | |
| Opera Beyond Style | |
| Dido and Aeneas and West Side Story | |
| George Frideric Handel | |
| The Baroque Concerto: Solo Concerto | |
| Antonio Vivaldi | |
| The Baroque Concerto: Concerto Grosso | |
| Fugue | |
| The Development of Fugue | |
| Fugue after Bach | |
| The Dance Suite | |
| Johann Sebastian Bach | |
| Bach's Social Standing | |
| Bach's Musical Style | |
| Bach Beyond Style | |
| The Classical-Romantic Continuum | p. 205 |
| The Second Span, 1750-1980 | |
| Traditional Format of the Sonata-Symphony Group | |
| The Sonata Principle: A Study in Forward Potential | |
| The Transition | |
| The Exposition | |
| The Development | |
| The Recapitulation | |
| Some Short-Range Detail | |
| Sonata-Allegro Form | |
| Mozart, Symphony No. 40, Second Movement | |
| Third Movement: Minuet and Trio | |
| Fourth Movement | |
| Wolfgang Amadeus Mozart | |
| Mozart's Natural Genius | |
| Mozart's Early Pieces: Imitations of Existing Models | |
| The Mozarts as Eighteenth-Century Musicians | |
| The Age of Reason | |
| The "Little Wizard" | |
| The Mozart Style | |
| The Magic Flute | |
| The Magic Flute as a Summation of Mozart's Art | |
| Rondo | |
| The Classical Aesthetic | |
| The Romantic Aesthetic | |
| A Flexible Approach | |
| The Classical Era | |
| The Romantic Era | |
| Afterthought | |
| Beethoven | p. 237 |
| Beethoven, Symphony No. 5 | |
| First Movement | |
| Second Movement | |
| Third Movement | |
| Fourth Movement | |
| A Comparison: Mozart's Fortieth Symphony and Beethoven's Fifth Symphony | |
| Beethoven's Fifth Symphony on the Classical-Romantic Continuum | |
| Ludwig van Beethoven | |
| Early Life and Personality | |
| A New Breed of Musician | |
| Beethoven's Musical Style | |
| Beethoven's Deafness | |
| The Three Style Periods | |
| The Beethoven Cult | |
| The Beethoven Legacy | |
| Beethoven's Musical Influence | |
| Beethoven's Accelerated Stylistic Development | |
| Beethoven as Humanist | |
| Beethoven Beyond Style | |
| Romanticism-I | p. 255 |
| Mendelssohn, Overture to A Midsummer Night's Dream | |
| Program Music | |
| Berlioz, Fantastic Symphony | |
| Afterthought | |
| Berlioz and Romanticism | |
| Early Years and Training | |
| The "Romantic Revolutionary" | |
| The Damnation of Faust | |
| The Basic Traits of Nineteenth-Century Romanticism | |
| Reverence for Nature | |
| Pursuit of the Bizarre, the Irrational, and the Mythical | |
| Nationalism and the Folk Element | |
| Interplay of the Senses | |
| The Quest for the Unattainable | |
| Freedom of Artistic Expression | |
| Individualism | |
| Mendelssohn and Berlioz: A Contrast in Style | |
| Summary | |
| Romanticism-II | p. 290 |
| The Romantic Miniature | |
| The Song | |
| Schubert and the German Lied | |
| Afterthought: Schubert and Stevie Wonder | |
| The Song Cycle and Its Counterpart, the Record Album | |
| Frederic Chopin | |
| Brahms, Concerto for Piano and Orchestra in B-flat major | |
| Brahms and Viennese Lyricism | |
| Influences on Viennese Lyricism | |
| Richard Wagner | |
| Tristan and Isolde | |
| The Importance of Tristan and Isolde | |
| Tristan Beyond Style | |
| Tristan and the Ancient Unity | |
| Tristan as Ritual | |
| Cues Relating Tristan to Life-Imagery | |
| Wagner's Role in the Transition to Modern Music | |
| Brahms and Wagner: A Contrast in Style | |
| The Quest for Legitimacy | |
| Giuseppe Verdi | |
| Aida | |
| Afterthought | |
| Modest Mussorgsky | |
| Boris Godunov | |
| The Musical Style of Boris Godunov | |
| From Romanticism to Realism | |
| The Modern Era | p. 319 |
| Claude Debussy | |
| Debussy's Impressionism | |
| Debussy's Harmony | |
| The Whole-Tone Scale | |
| Debussy's Texture | |
| Debussy and Romanticism | |
| Distant Influences on Debussy's Style | |
| Arnold Schoenberg | |
| The Evolution of Schoenberg's Living Language | |
| Schoenberg's Twelve-Tone Technique | |
| Schoenberg's Style and Twentieth-Century Trends | |
| The Schoenberg Legacy | |
| Stravinsky, The Rite of Spring | |
| The Rite as the Rock Music of Its Time | |
| Igor Stravinsky | |
| Stravinsky's Stylistic Evolution | |
| The Sonata-Symphony in the Modern Era | |
| Bartok, Quartet No. 4, Second Movement | |
| The Interplay between Innovation and Tradition | |
| The Full Impact of Modernism: Overview of Span II | p. 345 |
| Messiaen, Ligeti, and Stockhausen: The Full Impact of Modernism | |
| Olivier Messiaen | |
| Georgy Ligeti | |
| Karlheinz Stockhausen | |
| Unlimited Stylistic Choice | |
| Stockhausen, Momente | |
| Composer and Musical Language--A New Development | |
| The Changing Musical Language in Span II | |
| Summary of Basic Trends in Span II | |
| Growing Stylistic Diversity | |
| The Exploration and Decline of the Major-Minor Tonal System | |
| Increased Use of Complex Rhythms | |
| The Exploration and Rejection of Large-Scale Forms | |
| Development of the Large Orchestra and New Timbres | |
| The Growing Importance of Texture and Timbre in Composition | |
| Innovations of Genre and Form | |
| The Changing Society | |
| Revolution and the Transition to Modern Culture | |
| The Popular-Serious Split | |
| The Expansion of the World View | |
| The Dominance of the Scientific View | |
| Industrialization and Technology | |
| Information Overload and Sensory Clutter | |
| Sense of Time | |
| American Music | p. 374 |
| The Importance of National Styles | |
| American Music: A Living Language | |
| The Heritage from the British Isles | |
| Early Sacred Music in America | |
| The Singing Schools | |
| Jeremiah Ingalls | |
| Justin Morgan | |
| William Billings | |
| The Fuging Psalm Tune | |
| The Yankee Tunesmiths | |
| The Essential Relationship between "Popular" and "Serious" Traditions | |
| The Influence of the Notated Tradition on the Folk-Popular Musical Language | |
| American Sacred Folk Harmony | |
| The Blues | |
| The Twelve-Bar Blues | |
| The Blues--Historical Importance | |
| Basic Features of Jazz | |
| Genre--A Summary | |
| Afro-American Music | |
| The Reunion of Afro-American and African Musical Traditions | |
| The Interplay of Musical Styles in America | |
| Italian Lyricism and Afro-American Soul: A Comparison Latin Music | |
| Latin-American Music | |
| The Influence of Latin-American Music | |
| Contemporary Popular Song | |
| Rock | |
| Stylistic Interplay | |
| Aaron Copland | |
| Appalachian Spring | |
| Elliott Carter | |
| Double Concerto for Harpsichord and Piano | |
| Duke Ellington | |
| Ellington's Stylistic Explorations | |
| What to Listen for in His Music | |
| Stevie Wonder | |
| The Role of the Recording Studio | |
| Songs in the Key of Life | |
| Joni Mitchell | |
| The Influence of Bob Dylan | |
| Joni Mitchell's Stylistic Journey | |
| Blue | |
| For the Roses | |
| Court and Spark | |
| The Hissing of Summer Lawns | |
| Hejira | |
| Toward a World Musical Language | p. 441 |
| The Balance between Spontaneity and Intellectualization | |
| Amerindian Music and Cultural Filters | |
| Hidden Basics | |
| Tracing Lyricism across Stylistic Boundaries | |
| Chippewa Healing Chant in Universal Perspective | |
| Drama | |
| Universal Aspects of Musical Form | |
| Tracing a Sacred Number Plan | |
| The Quechuas Are Descendants of the Incas | |
| Panpipes--Music as Sacred Science | |
| Quechua Music after Spanish Conquest | |
| Strict Rules Surrounding Kan Chi Si Pas | |
| The Song in the Stone | |
| The Number Plan as a Worldwide Musical Strand | |
| Three Great Developments That Have Extended Musical Possibilities | |
| The Cultural Context of Rhythm and Body-Image | |
| Popular and Serious | |
| The Ancient Cultural Root | |
| The Cultural Model in Europe | |
| The Church | |
| The Nobility | |
| The Popular--Serious Cues of the West Are Not Universal | |
| Toward a Deeper Understanding of Music as Art | |
| Appendices | |
| Additional Composers and Listening | p. 469 |
| Main Genres Chart | p. 484 |
| Dynamic and Tempo Markings | p. 485 |
| Notation of Rhythm and Time Signatures | p. 486 |
| Accidentals | p. 489 |
| Key Signatures and Scales | p. 491 |
| Intervals and Chords | p. 493 |
| Harmonic Series | p. 495 |
| Terms: Assorted and Problematic | p. 497 |
| World Music: Suggestions for Reading and Listening | p. 499 |
| Picture Sequences | p. 500 |
| Index | p. 513 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
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