- ISBN: 9781457669859 | 1457669854
- Cover: Paperback
- Copyright: 1/9/2015
Notice:
Kerman/Tomlinson, Listen, Eighth Edition is moving to W.W. Norton and Company Publishers. For instructors and students currently using Listen, W.H. Freeman will continue to support your teaching and learning with the textbook and its accompanying print and media resources, including LaunchPad, until July 31, 2015. Instructors interested in using Listen after August 1, 2016, should contact Norton.
Generations of students have developed a love of music and focused listening skills through the enjoyable prose, high-quality recordings, unmatched Listening Charts, and historical context in Listen.
In the eighth edition this classic text gets a fresh face, with a new design that enhances its clarity and accessibility, new features that help students review and synthesize important concepts, new perspectives on twentieth-century music, and new repertory that enhances students’ exposure to the forms and genres of classical music. With an array of media options including CDs, downloads, and LaunchPad with streaming music, Listen works well for any course format and any budget.
Joseph Kerman was a leading musicologist, music critic, and music educator from the 1950s into the 2000s. He conceived Listen together with his wife, Vivian Kerman, and was its original author. From his first book, Opera as Drama (1956), to his last, Opera and the Morbidity of Music (2008), including studies of Bach, Beethoven, William Byrd, concertos, and more, Kerman reshaped our understanding and appreciation of Western Classical music. He was long a professor at the University of California, Berkeley, where he served two terms as chair of the Music Department.Gary Tomlinson did the same at the University of Pennsylvania before he moved to Yale University in 2011, where he is now the John Hay Whitney Professor and Director of the Whitney Humanities Center. A former MacArthur Fellow, he has authored books on Claudio Monteverdi, Renaissance musical culture, opera, and the singing rituals of the Aztecs and Incas. His latest book, 1,000,000 Years of Music, describes the evolutionary emergence of music.Teaching was the heart and soul of Kerman’s musical career, and it remains such in Tomlinson’s. Between them, their wide-ranging course offerings have encompassed harmony and ear-training, opera, world music, popular music, interdisciplinary studies, seminars in music history, criticism, and anthropology and—many times over—Introduction to Music for non-majors.
Tomlinson and Kerman worked together on five editions of Listen. Joseph Kerman died early in 2014, just shy of his 90th birthday, as this edition went to press.
*New to this edition
Preface To the InstructorIntroduction To the StudentClassical Music—and Other KindsClassical Music and HistoryListening*How to Use This Book
Unit I FundamentalsCHAPTER 1 Rhythm, Meter, and Tempo1 RhythmBeat and Accent2 MeterRhythm and MeterSyncopationListening Exercise 1 Rhythm, Meter, and Syncopation3 TempoListening Exercise 2 Rhythm, Meter, and Tempo*Goals for Review CHAPTER 2 Pitch, Dynamics, and Tone Color1 Pitch2 DynamicsListening Exercise 3 Pitch and Dynamics3 Tone Color[Box] Musical InstrumentsListening Exercise 4 The Orchestra in Action*Goals for Review CHAPTER 3 Scales and Melody1 ScalesThe OctaveThe Diatonic ScaleThe Chromatic ScaleHalf Steps and Whole Steps2 MelodyTunes[Box] Characteristics of TunesListening Exercise 5 Melody and TuneMotives and Themes*Goals for Review CHAPTER 4 Harmony, Texture, Tonality, and Mode1 HarmonyConsonance and Dissonance2 TextureMonophonyHomophony and PolyphonyImitationListening Exercise 6 Texture3 Tonality and ModeTonalityMajor and Minor ModesKeysListening for the Major and Minor ModesListening for Keys and ModulationListening Exercise 7 Mode and Key*Goals for Review CHAPTER 5 Musical Form and Musical Style1 Form in MusicForm and FeelingForm and FormsListening Exercise 8 Musical FormMusical Genres2 Musical StyleMusical Style and LifestyleBenjamin Britten, The Young Person’s Guide to the Orchestra (1946)Listening Chart 1 *Goals for Review UNIT II Early Music: An Overview*ChronologyCHAPTER 6 The Middle Ages1 Music and the ChurchMusic and Church Services: LiturgyPlainchantCharacteristics of PlainchantGregorian Recitation and Gregorian MelodyAnonymous, Plainchant antiphon, "In paradisum" (c. ninth century)Hildegard of Bingen (1098–1179), Plainchant sequence, "Columba aspexit"2 Music at CourtTroubadour and Trouvère SongsBernart de Ventadorn (c. 1135–1194), Troubadour song, "La dousa votz"[Box] How Did Early Music Sound?The Estampie3 The Evolution of PolyphonyOrganumPérotin, Organum, "Alleluia. Diffusa est gratia" (c. 1200)4 Later Medieval PolyphonyAnonymous, Round, "Sumer Is Icumen In" (late thirteenth century)Ars NovaGuillaume de Machaut (c. 1300–1377), Chanson, "Dame, de qui toute ma joie vient"Global Perspectives Sacred Chant*Goals for Review CHAPTER 7 The Renaissance1 New AttitudesEarly HomophonyGuillaume Dufay (c. 1400–1474), Harmonized hymn, "Ave maris stella"The Mass2 The High Renaissance StyleImitationHomophonyOther CharacteristicsJosquin Desprez, Pange lingua Mass (c. 1510)3 Music as ExpressionJosquin Desprez, Chanson, "Mille regrets"4 Late Renaissance MusicGiovanni Pierluigi da Palestrina, Pope Marcellus Mass (1557)The MotetThe Italian MadrigalThe English MadrigalThomas Weelkes, Madrigal, "As Vesta Was from Latmos Hill Descending" (1601)5 Instrumental Music: Early DevelopmentsRenaissance DancesAnonymous (sixteenth century), Galliard, "Daphne"Anonymous (sixteenth century), "Kemp’s Jig"Global Perspectives Music and Early European Colonialism*Goals for Review CHAPTER 8 The Early Baroque Period1 From Renaissance to BaroqueMusic in VeniceExtravagance and ControlGiovanni Gabrieli (c. 1555–1612), Motet, "O magnum mysterium"2 Style Features of Early Baroque MusicRhythm and MeterTexture: Basso ContinuoFunctional Harmony3 OperaRecitativeClaudio Monteverdi (1567–1643)[Box] Singing ItalianClaudio Monteverdi, The Coronation of Poppea (1642)Henry Purcell (1659–1695)Henry Purcell, Dido and Aeneas (1689)4 The Rise of Instrumental MusicGirolamo Frescobaldi (1583–1643)Girolamo Frescobaldi, Canzona, Balletto, and Corrente (1627–1637)Global Perspectives African Ostinato Forms*Goals for Review UNIT III The Eighteenth Century*ChronologyCHAPTER 9 Prelude The Late Baroque Period1 Absolutism and the Age of ScienceArt and AbsolutismThe Music of AbsolutismArt and TheatricalityScience and the ArtsScience and Music2 Musical Life in the Early Eighteenth Century3 Style Features of Late Baroque MusicRhythmDynamicsTone ColorThe Baroque OrchestraMelodyOrnamentationTextureThe ContinuoMusical Form4 The Emotional World of Baroque Music*Goals for Review CHAPTER 10 Baroque Instrumental Music1 Concerto and Concerto GrossoMovementsRitornello FormAntonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12 (1712–1713)Listening Chart 2[Biography] Antonio Vivaldi (1678–1741)Baroque Variation Form: The Ground BassAntonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12, second movementListening Chart 3 *Vivaldi’s Greatest Hits*Antonio Vivaldi, Violin Concerto in E, Spring, Op. 8, No. 1 (before 1725)*Listening Chart 4Johann Sebastian Bach, Brandenburg Concerto No. 5, for Flute, Violin, Harpsichord, and Orchestra (before 1721)Listening Chart 5[Biography] Johann Sebastian Bach (1685–1750)2 FugueFugal ExpositionFugal DevicesJohann Sebastian Bach, Prelude and Fugue in C Major, from The Well-Tempered Clavier, Book 1 (1722)Listening Chart 6[Box] Glenn Gould (1932–1982)3 Baroque DancesThe Dance SuiteBaroque Dance FormGeorge Frideric Handel, Minuet from The Royal Fireworks Music (1749)Johann Sebastian Bach, Gigue from Cello Suite No. 2 in D Minor (c. 1720)*Goals for Review CHAPTER 11 Baroque Vocal Music1 OperaItalian Opera SeriaRecitativeAria[Box] The CastratoGeorge Frideric Handel, Julius Caesar (1724)2 Oratorio[Biography] George Frideric Handel (1685–1759)George Frideric Handel, Messiah (1742)3 The Church Cantata[Box] Women in MusicThe Lutheran ChoraleJohann Sebastian Bach, Cantata No. 4, "Christ lag in Todesbanden" (1707)*Goals for Review CHAPTER 12 Prelude Music and the Enlightenment1 The Enlightenment and Music"The Pursuit of Happiness"Art and EntertainmentJean-Jacques Rousseau and OperaThe Novel2 The Rise of Concerts3 Style Features of Classical MusicRhythmDynamicsTone Color: The Classical OrchestraMelody: TunesTexture: HomophonyClassical Counterpoint4 Form in Classical MusicRepetitions and CadencesClassical Forms*Goals for Review CHAPTER 13 The Symphony1 The Movements of the Symphony2 Sonata FormExposition (A)Development (B)Recapitulation (A′)Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, K. 550 (1788)Listening Chart 7[Biography] Wolfgang Amadeus Mozart (1756–1791)3 Classical Variation Form*Symphonies of Haydn*Franz Joseph Haydn, Symphony No. 94 in G ("The Surprise") (1791)*Listening Chart 8[Biography] Franz Joseph Haydn (1732–1809)4 Minuet Form (Classical Dance Form)Baroque and Classical Dance Form*Franz Joseph Haydn, Symphony No. 99 in E-flat (1793)*Listening Chart 95 Rondo Form*Franz Joseph Haydn, Symphony No. 101 in D ("The Clock") (1793–1794)*Listening Chart 10 *Goals for Review CHAPTER 14 Other Classical Genres1 The Sonata2 The Classical ConcertoDouble-Exposition FormWolfgang Amadeus Mozart, Piano Concerto No. 23 in A, K. 488 (1786)Listening Chart 11 3 The String QuartetChamber Music4 Opera BuffaThe EnsembleWolfgang Amadeus Mozart, Don Giovanni (1787)Global Perspectives Musical Form: Two Case Studies from Asia*Goals for Review UNIT IV The Nineteenth Century*ChronologyCHAPTER 15 Beethoven1 Between Classicism and RomanticismThe French Revolution2 Beethoven and the Symphony[Biography] Ludwig van Beethoven (1770–1827)Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67 (1808)Listening Chart 12Listening Chart 133 Beethoven’s "Third Period"*Ludwig van Beethoven, Piano Sonata in E, Op. 109 (1820)*Listening Chart 14 *Goals for Review CHAPTER 16 Prelude Music after Beethoven: Romanticism1 RomanticismThe Cult of Individual FeelingRomanticism and RevoltArtistic BarriersMusic and the SupernaturalMusic and the Other Arts2 Concert Life in the Nineteenth CenturyThe Artist and the Public3 Style Features of Romantic MusicRomantic MelodyRomantic HarmonyRhythmic Freedom: RubatoThe Expansion of Tone Color4 Program Music5 Form in Romantic MusicMiniature CompositionsGrandiose CompositionsThe Principle of Thematic Unity*Goals for Review CHAPTER 17 The Early Romantics1 The LiedFranz Schubert, "Erlkönig" (The Erlking) (1815)[Biography] Franz Schubert (1797–1828)The Song CycleRobert Schumann, Dichterliebe (A Poet’s Love) (1840)[Biography] Robert Schumann (1810–1856)Clara Schumann, "Der Mond kommt still gegangen" (The moon has risen softly) (1843)[Biography] Clara Wieck (Clara Schumann) (1819–1896)2 The Character Piece for PianoFranz Schubert, Moment Musical No. 2 in A-flat (1827?)Robert Schumann, Carnaval (1833–1835)Frédéric Chopin, Nocturne in F-sharp, Op. 15, No. 2 (1831)[Biography] Frédéric Chopin (1810–1849)[Biography] Franz Liszt (1811–1886)3 Early Romantic Program MusicThe Concert Overture: Felix Mendelssohn[Biography] Felix Mendelssohn (1809–1847)[Biography] Fanny Mendelssohn (1805–1847)The Program Symphony: Hector BerliozHector Berlioz, Fantastic Symphony: Episodes in the Life of an Artist (1830)Listening Chart 15 [Biography] Hector Berlioz (1803–1869)*Goals for Review CHAPTER 18 Romantic Opera1 Verdi and Italian OperaRecitative and Aria: The Role of the Orchestra[Box] Early Romantic OperaGiuseppe Verdi, Rigoletto (1851)[Biography] Giuseppe Verdi (1813–1901)2 Wagner and Music Drama[Biography] Richard Wagner (1813–1883)The Total Work of ArtLeitmotivs[Box] Wagner’s Tristan and Isolde (1859)The Nibelung’s Ring (1848–1874)Richard Wagner, The Valkyrie (1851–1856)3 Late Romantic OperaGiacomo Puccini (1858–1924)Giacomo Puccini, Madame Butterfly (1904)*Goals for Review CHAPTER 19 The Late RomanticsRomanticism and Realism1 Late Romantic Program MusicPyotr Ilyich Tchaikovsky, Overture-Fantasy, Romeo and Juliet (1869, revised 1880)Listening Chart 16[Biography] Pyotr Ilyich Tchaikovsky (1840–1893)2 NationalismExoticismThe Russian KuchkaModest Musorgsky, Pictures at an Exhibition (1874)[Biography] Modest Musorgsky (1839–1881)[Box] Other Nationalists3 Responses to RomanticismThe Renewal of Classicism: Brahms[Biography] Johannes Brahms (1833–1897)Johannes Brahms, Violin Concerto in D, Op. 77 (1878)Listening Chart 17 Romantic Nostalgia: Mahler[Biography] Gustav Mahler (1860–1911)Gustav Mahler, Symphony No. 1 (1888)Listening Chart 18Global Perspectives Musical Drama Worldwide*Goals for Review UNIT V The Twentieth Century and Beyond*ChronologyCHAPTER 20 Prelude Music and Modernism*1 Varieties of Modernism2 Progress and Uncertainty3 The Response of Modernism4 Literature and Art before World War IImpressionists and SymbolistsExpressionists and Fauves5 Modernist Music before World War IExperiment and Transformation: MelodyNew Horizons, New Scales"The Emancipation of Dissonance"*Goals for Review CHAPTER 21 Early Modernism1 Debussy and ImpressionismClaude Debussy, Clouds, from Three Nocturnes (1899)Listening Chart 19 [Biography] Claude Debussy (1862–1918)2 Stravinsky: The Primacy of RhythmIgor Stravinsky, The Rite of Spring, from Part I, "The Adoration of the Earth" (1913)Listening Chart 20 [Biography] Igor Stravinsky (1882–1971)3 ExpressionismArnold Schoenberg, Pierrot lunaire (Moonstruck Pierrot) (1912)[Biography] Arnold Schoenberg (1874–1951)Alban Berg (1885–1935), Wozzeck (1923)[Box] Schoenberg and Serialism4 The First American Modernist: Ives[Biography] Charles Ives (1874–1954)Charles Ives, Second Orchestral Set, second movement, "The Rockstrewn Hills Join in the People’s Outdoor Meeting" (1909)Listening Chart 21 *Goals for Review CHAPTER 22 Modernism between the WarsTwentieth-Century Traditionalism1 Mixing Classical Form and Jazz: Maurice RavelMaurice Ravel, Piano Concerto in G (1931)[Biography] Maurice Ravel (1875–1937)Listening Chart 22 2 Folk Music, Nationalism, and Modernism: Béla Bartók[Biography] Béla Bartók (1881–1945)Béla Bartók, Music for Strings, Percussion, and Celesta (1936)Listening Chart 23 *3 Varieties of American Modernism*Ruth Crawford*Ruth Crawford, Prelude for Piano No. 6 (Andante Mystico) (1928)*Listening Chart 24 *[Biography] Ruth Crawford (1901–1953)*William Grant Still*William Grant Still, Afro-American Symphony (1930)*Listening Chart 25*[Biography] William Grant Still (1895–1978)Aaron CoplandAaron Copland, Appalachian Spring (1945)[Biography] Aaron Copland (1900–1990)6 The Rise of Film MusicComposers for Film[Box] Music and TotalitarianismSergei Prokofiev, Alexander Nevsky Cantata (1938)Listening Chart 26 [Biography] Sergei Prokofiev (1891–1953)*Goals for Review CHAPTER 23 The Late Twentieth Century1 The Postwar Avant-GardeNew Sound MaterialsElectronic MusicOn the Boundaries of TimeAnton Webern, Five Orchestral Pieces (1913)Chance Music2 The New GenerationEdgard Varèse (1883–1965)Edgard Varèse, Poème électronique (1958)György Ligeti (1923–2006)György Ligeti, Lux aeterna (1966)Listening Chart 27John Cage (1912–1992)John Cage, 4′33″ (1952)3 Music at the End of the MillenniumSteve Reich (b. 1936) and MinimalismSteve Reich, Music for 18 Musicians (1974–1976)Listening Chart 28 *New Expressionism and Connecting to the Past*George Crumb (b. 1929)*George Crumb, American Songbook V: Voices from a Forgotten World (2006)*Tania León (b. 1943)*Tania León, Indígena (1991)*Listening Chart 29 John Adams (b. 1947)*John Adams, Doctor Atomic (2005)*Goals for Review CHAPTER 24 Music in America: Jazz and Beyond1 Early American Music: An OverviewThe Cultivated TraditionMusic in the VernacularAfrican American Music2 Jazz: The First Fifty YearsThe Blues[Box] Ragtime: Scott Joplin (1868–1917)Sippie Wallace (1898–1986), "If You Ever Been Down" Blues (Composed by G. W. Thomas) (1927)New Orleans Jazz[Biography] Louis Armstrong (1901–1971)Big-Band Jazz: SwingDuke Ellington, "Conga Brava" (1940)[Biography] Duke Ellington (1899–1974)Popular Song3 Later JazzBebopCharlie Parker (1920–1955) and Miles Davis (1926–1991), "Out of Nowhere" (1948)Jazz after BebopMiles Davis (1926–1991), Bitches Brew (1969)Global Perspectives African Drumming*4 The American MusicalMusical ComedyThe Musical after 1940Leonard Bernstein (1918–1990), West Side Story (1957)The Later Musical5 RockEarly Rock ’n’ RollThe 1960s: Rock Comes of AgeMotown, Soul, and FunkThe British InvasionAmerican CounteroffensivesAfter the 1960sTrends 1980–2000: Punk, Rap, and Post-RockGlobal Perspectives Global Music6 Conclusion*Goals for Review Appendix A Time LinesAppendix B Musical NotationGlossary of Musical TermsIndex
Preface To the InstructorIntroduction To the StudentClassical Music—and Other KindsClassical Music and HistoryListening*How to Use This Book
Unit I FundamentalsCHAPTER 1 Rhythm, Meter, and Tempo1 RhythmBeat and Accent2 MeterRhythm and MeterSyncopationListening Exercise 1 Rhythm, Meter, and Syncopation3 TempoListening Exercise 2 Rhythm, Meter, and Tempo*Goals for Review CHAPTER 2 Pitch, Dynamics, and Tone Color1 Pitch2 DynamicsListening Exercise 3 Pitch and Dynamics3 Tone Color[Box] Musical InstrumentsListening Exercise 4 The Orchestra in Action*Goals for Review CHAPTER 3 Scales and Melody1 ScalesThe OctaveThe Diatonic ScaleThe Chromatic ScaleHalf Steps and Whole Steps2 MelodyTunes[Box] Characteristics of TunesListening Exercise 5 Melody and TuneMotives and Themes*Goals for Review CHAPTER 4 Harmony, Texture, Tonality, and Mode1 HarmonyConsonance and Dissonance2 TextureMonophonyHomophony and PolyphonyImitationListening Exercise 6 Texture3 Tonality and ModeTonalityMajor and Minor ModesKeysListening for the Major and Minor ModesListening for Keys and ModulationListening Exercise 7 Mode and Key*Goals for Review CHAPTER 5 Musical Form and Musical Style1 Form in MusicForm and FeelingForm and FormsListening Exercise 8 Musical FormMusical Genres2 Musical StyleMusical Style and LifestyleBenjamin Britten, The Young Person’s Guide to the Orchestra (1946)Listening Chart 1 *Goals for Review UNIT II Early Music: An Overview*ChronologyCHAPTER 6 The Middle Ages1 Music and the ChurchMusic and Church Services: LiturgyPlainchantCharacteristics of PlainchantGregorian Recitation and Gregorian MelodyAnonymous, Plainchant antiphon, "In paradisum" (c. ninth century)Hildegard of Bingen (1098–1179), Plainchant sequence, "Columba aspexit"2 Music at CourtTroubadour and Trouvère SongsBernart de Ventadorn (c. 1135–1194), Troubadour song, "La dousa votz"[Box] How Did Early Music Sound?The Estampie3 The Evolution of PolyphonyOrganumPérotin, Organum, "Alleluia. Diffusa est gratia" (c. 1200)4 Later Medieval PolyphonyAnonymous, Round, "Sumer Is Icumen In" (late thirteenth century)Ars NovaGuillaume de Machaut (c. 1300–1377), Chanson, "Dame, de qui toute ma joie vient"Global Perspectives Sacred Chant*Goals for Review CHAPTER 7 The Renaissance1 New AttitudesEarly HomophonyGuillaume Dufay (c. 1400–1474), Harmonized hymn, "Ave maris stella"The Mass2 The High Renaissance StyleImitationHomophonyOther CharacteristicsJosquin Desprez, Pange lingua Mass (c. 1510)3 Music as ExpressionJosquin Desprez, Chanson, "Mille regrets"4 Late Renaissance MusicGiovanni Pierluigi da Palestrina, Pope Marcellus Mass (1557)The MotetThe Italian MadrigalThe English MadrigalThomas Weelkes, Madrigal, "As Vesta Was from Latmos Hill Descending" (1601)5 Instrumental Music: Early DevelopmentsRenaissance DancesAnonymous (sixteenth century), Galliard, "Daphne"Anonymous (sixteenth century), "Kemp’s Jig"Global Perspectives Music and Early European Colonialism*Goals for Review CHAPTER 8 The Early Baroque Period1 From Renaissance to BaroqueMusic in VeniceExtravagance and ControlGiovanni Gabrieli (c. 1555–1612), Motet, "O magnum mysterium"2 Style Features of Early Baroque MusicRhythm and MeterTexture: Basso ContinuoFunctional Harmony3 OperaRecitativeClaudio Monteverdi (1567–1643)[Box] Singing ItalianClaudio Monteverdi, The Coronation of Poppea (1642)Henry Purcell (1659–1695)Henry Purcell, Dido and Aeneas (1689)4 The Rise of Instrumental MusicGirolamo Frescobaldi (1583–1643)Girolamo Frescobaldi, Canzona, Balletto, and Corrente (1627–1637)Global Perspectives African Ostinato Forms*Goals for Review UNIT III The Eighteenth Century*ChronologyCHAPTER 9 Prelude The Late Baroque Period1 Absolutism and the Age of ScienceArt and AbsolutismThe Music of AbsolutismArt and TheatricalityScience and the ArtsScience and Music2 Musical Life in the Early Eighteenth Century3 Style Features of Late Baroque MusicRhythmDynamicsTone ColorThe Baroque OrchestraMelodyOrnamentationTextureThe ContinuoMusical Form4 The Emotional World of Baroque Music*Goals for Review CHAPTER 10 Baroque Instrumental Music1 Concerto and Concerto GrossoMovementsRitornello FormAntonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12 (1712–1713)Listening Chart 2[Biography] Antonio Vivaldi (1678–1741)Baroque Variation Form: The Ground BassAntonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12, second movementListening Chart 3 *Vivaldi’s Greatest Hits*Antonio Vivaldi, Violin Concerto in E, Spring, Op. 8, No. 1 (before 1725)*Listening Chart 4Johann Sebastian Bach, Brandenburg Concerto No. 5, for Flute, Violin, Harpsichord, and Orchestra (before 1721)Listening Chart 5[Biography] Johann Sebastian Bach (1685–1750)2 FugueFugal ExpositionFugal DevicesJohann Sebastian Bach, Prelude and Fugue in C Major, from The Well-Tempered Clavier, Book 1 (1722)Listening Chart 6[Box] Glenn Gould (1932–1982)3 Baroque DancesThe Dance SuiteBaroque Dance FormGeorge Frideric Handel, Minuet from The Royal Fireworks Music (1749)Johann Sebastian Bach, Gigue from Cello Suite No. 2 in D Minor (c. 1720)*Goals for Review CHAPTER 11 Baroque Vocal Music1 OperaItalian Opera SeriaRecitativeAria[Box] The CastratoGeorge Frideric Handel, Julius Caesar (1724)2 Oratorio[Biography] George Frideric Handel (1685–1759)George Frideric Handel, Messiah (1742)3 The Church Cantata[Box] Women in MusicThe Lutheran ChoraleJohann Sebastian Bach, Cantata No. 4, "Christ lag in Todesbanden" (1707)*Goals for Review CHAPTER 12 Prelude Music and the Enlightenment1 The Enlightenment and Music"The Pursuit of Happiness"Art and EntertainmentJean-Jacques Rousseau and OperaThe Novel2 The Rise of Concerts3 Style Features of Classical MusicRhythmDynamicsTone Color: The Classical OrchestraMelody: TunesTexture: HomophonyClassical Counterpoint4 Form in Classical MusicRepetitions and CadencesClassical Forms*Goals for Review CHAPTER 13 The Symphony1 The Movements of the Symphony2 Sonata FormExposition (A)Development (B)Recapitulation (A′)Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, K. 550 (1788)Listening Chart 7[Biography] Wolfgang Amadeus Mozart (1756–1791)3 Classical Variation Form*Symphonies of Haydn*Franz Joseph Haydn, Symphony No. 94 in G ("The Surprise") (1791)*Listening Chart 8[Biography] Franz Joseph Haydn (1732–1809)4 Minuet Form (Classical Dance Form)Baroque and Classical Dance Form*Franz Joseph Haydn, Symphony No. 99 in E-flat (1793)*Listening Chart 95 Rondo Form*Franz Joseph Haydn, Symphony No. 101 in D ("The Clock") (1793–1794)*Listening Chart 10 *Goals for Review CHAPTER 14 Other Classical Genres1 The Sonata2 The Classical ConcertoDouble-Exposition FormWolfgang Amadeus Mozart, Piano Concerto No. 23 in A, K. 488 (1786)Listening Chart 11 3 The String QuartetChamber Music4 Opera BuffaThe EnsembleWolfgang Amadeus Mozart, Don Giovanni (1787)Global Perspectives Musical Form: Two Case Studies from Asia*Goals for Review UNIT IV The Nineteenth Century*ChronologyCHAPTER 15 Beethoven1 Between Classicism and RomanticismThe French Revolution2 Beethoven and the Symphony[Biography] Ludwig van Beethoven (1770–1827)Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67 (1808)Listening Chart 12Listening Chart 133 Beethoven’s "Third Period"*Ludwig van Beethoven, Piano Sonata in E, Op. 109 (1820)*Listening Chart 14 *Goals for Review CHAPTER 16 Prelude Music after Beethoven: Romanticism1 RomanticismThe Cult of Individual FeelingRomanticism and RevoltArtistic BarriersMusic and the SupernaturalMusic and the Other Arts2 Concert Life in the Nineteenth CenturyThe Artist and the Public3 Style Features of Romantic MusicRomantic MelodyRomantic HarmonyRhythmic Freedom: RubatoThe Expansion of Tone Color4 Program Music5 Form in Romantic MusicMiniature CompositionsGrandiose CompositionsThe Principle of Thematic Unity*Goals for Review CHAPTER 17 The Early Romantics1 The LiedFranz Schubert, "Erlkönig" (The Erlking) (1815)[Biography] Franz Schubert (1797–1828)The Song CycleRobert Schumann, Dichterliebe (A Poet’s Love) (1840)[Biography] Robert Schumann (1810–1856)Clara Schumann, "Der Mond kommt still gegangen" (The moon has risen softly) (1843)[Biography] Clara Wieck (Clara Schumann) (1819–1896)2 The Character Piece for PianoFranz Schubert, Moment Musical No. 2 in A-flat (1827?)Robert Schumann, Carnaval (1833–1835)Frédéric Chopin, Nocturne in F-sharp, Op. 15, No. 2 (1831)[Biography] Frédéric Chopin (1810–1849)[Biography] Franz Liszt (1811–1886)3 Early Romantic Program MusicThe Concert Overture: Felix Mendelssohn[Biography] Felix Mendelssohn (1809–1847)[Biography] Fanny Mendelssohn (1805–1847)The Program Symphony: Hector BerliozHector Berlioz, Fantastic Symphony: Episodes in the Life of an Artist (1830)Listening Chart 15 [Biography] Hector Berlioz (1803–1869)*Goals for Review CHAPTER 18 Romantic Opera1 Verdi and Italian OperaRecitative and Aria: The Role of the Orchestra[Box] Early Romantic OperaGiuseppe Verdi, Rigoletto (1851)[Biography] Giuseppe Verdi (1813–1901)2 Wagner and Music Drama[Biography] Richard Wagner (1813–1883)The Total Work of ArtLeitmotivs[Box] Wagner’s Tristan and Isolde (1859)The Nibelung’s Ring (1848–1874)Richard Wagner, The Valkyrie (1851–1856)3 Late Romantic OperaGiacomo Puccini (1858–1924)Giacomo Puccini, Madame Butterfly (1904)*Goals for Review CHAPTER 19 The Late RomanticsRomanticism and Realism1 Late Romantic Program MusicPyotr Ilyich Tchaikovsky, Overture-Fantasy, Romeo and Juliet (1869, revised 1880)Listening Chart 16[Biography] Pyotr Ilyich Tchaikovsky (1840–1893)2 NationalismExoticismThe Russian KuchkaModest Musorgsky, Pictures at an Exhibition (1874)[Biography] Modest Musorgsky (1839–1881)[Box] Other Nationalists3 Responses to RomanticismThe Renewal of Classicism: Brahms[Biography] Johannes Brahms (1833–1897)Johannes Brahms, Violin Concerto in D, Op. 77 (1878)Listening Chart 17 Romantic Nostalgia: Mahler[Biography] Gustav Mahler (1860–1911)Gustav Mahler, Symphony No. 1 (1888)Listening Chart 18Global Perspectives Musical Drama Worldwide*Goals for Review UNIT V The Twentieth Century and Beyond*ChronologyCHAPTER 20 Prelude Music and Modernism*1 Varieties of Modernism2 Progress and Uncertainty3 The Response of Modernism4 Literature and Art before World War IImpressionists and SymbolistsExpressionists and Fauves5 Modernist Music before World War IExperiment and Transformation: MelodyNew Horizons, New Scales"The Emancipation of Dissonance"*Goals for Review CHAPTER 21 Early Modernism1 Debussy and ImpressionismClaude Debussy, Clouds, from Three Nocturnes (1899)Listening Chart 19 [Biography] Claude Debussy (1862–1918)2 Stravinsky: The Primacy of RhythmIgor Stravinsky, The Rite of Spring, from Part I, "The Adoration of the Earth" (1913)Listening Chart 20 [Biography] Igor Stravinsky (1882–1971)3 ExpressionismArnold Schoenberg, Pierrot lunaire (Moonstruck Pierrot) (1912)[Biography] Arnold Schoenberg (1874–1951)Alban Berg (1885–1935), Wozzeck (1923)[Box] Schoenberg and Serialism4 The First American Modernist: Ives[Biography] Charles Ives (1874–1954)Charles Ives, Second Orchestral Set, second movement, "The Rockstrewn Hills Join in the People’s Outdoor Meeting" (1909)Listening Chart 21 *Goals for Review CHAPTER 22 Modernism between the WarsTwentieth-Century Traditionalism1 Mixing Classical Form and Jazz: Maurice RavelMaurice Ravel, Piano Concerto in G (1931)[Biography] Maurice Ravel (1875–1937)Listening Chart 22 2 Folk Music, Nationalism, and Modernism: Béla Bartók[Biography] Béla Bartók (1881–1945)Béla Bartók, Music for Strings, Percussion, and Celesta (1936)Listening Chart 23 *3 Varieties of American Modernism*Ruth Crawford*Ruth Crawford, Prelude for Piano No. 6 (Andante Mystico) (1928)*Listening Chart 24 *[Biography] Ruth Crawford (1901–1953)*William Grant Still*William Grant Still, Afro-American Symphony (1930)*Listening Chart 25*[Biography] William Grant Still (1895–1978)Aaron CoplandAaron Copland, Appalachian Spring (1945)[Biography] Aaron Copland (1900–1990)6 The Rise of Film MusicComposers for Film[Box] Music and TotalitarianismSergei Prokofiev, Alexander Nevsky Cantata (1938)Listening Chart 26 [Biography] Sergei Prokofiev (1891–1953)*Goals for Review CHAPTER 23 The Late Twentieth Century1 The Postwar Avant-GardeNew Sound MaterialsElectronic MusicOn the Boundaries of TimeAnton Webern, Five Orchestral Pieces (1913)Chance Music2 The New GenerationEdgard Varèse (1883–1965)Edgard Varèse, Poème électronique (1958)György Ligeti (1923–2006)György Ligeti, Lux aeterna (1966)Listening Chart 27John Cage (1912–1992)John Cage, 4′33″ (1952)3 Music at the End of the MillenniumSteve Reich (b. 1936) and MinimalismSteve Reich, Music for 18 Musicians (1974–1976)Listening Chart 28 *New Expressionism and Connecting to the Past*George Crumb (b. 1929)*George Crumb, American Songbook V: Voices from a Forgotten World (2006)*Tania León (b. 1943)*Tania León, Indígena (1991)*Listening Chart 29 John Adams (b. 1947)*John Adams, Doctor Atomic (2005)*Goals for Review CHAPTER 24 Music in America: Jazz and Beyond1 Early American Music: An OverviewThe Cultivated TraditionMusic in the VernacularAfrican American Music2 Jazz: The First Fifty YearsThe Blues[Box] Ragtime: Scott Joplin (1868–1917)Sippie Wallace (1898–1986), "If You Ever Been Down" Blues (Composed by G. W. Thomas) (1927)New Orleans Jazz[Biography] Louis Armstrong (1901–1971)Big-Band Jazz: SwingDuke Ellington, "Conga Brava" (1940)[Biography] Duke Ellington (1899–1974)Popular Song3 Later JazzBebopCharlie Parker (1920–1955) and Miles Davis (1926–1991), "Out of Nowhere" (1948)Jazz after BebopMiles Davis (1926–1991), Bitches Brew (1969)Global Perspectives African Drumming*4 The American MusicalMusical ComedyThe Musical after 1940Leonard Bernstein (1918–1990), West Side Story (1957)The Later Musical5 RockEarly Rock ’n’ RollThe 1960s: Rock Comes of AgeMotown, Soul, and FunkThe British InvasionAmerican CounteroffensivesAfter the 1960sTrends 1980–2000: Punk, Rap, and Post-RockGlobal Perspectives Global Music6 Conclusion*Goals for Review Appendix A Time LinesAppendix B Musical NotationGlossary of Musical TermsIndex
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