Listen to this

著者

書誌事項

Listen to this

Mark Evan Bonds ; with contributions by Jocelyn Neal, Joseph Kaminski, and N. Scott Robinson

Prentice Hall, c2009

大学図書館所蔵 件 / 全1件

この図書・雑誌をさがす

注記

Includes bibliographical references and index

内容説明・目次

内容説明

Listen to the music. Hear the elements. Expand your playlist. Informed by over 300 instructor and student reviews, Listen to This was created for today's students. It will expand your students' playlist with its listening-oriented approach and the integration of the musical elements. For the professor, it provides a customizable, modular format that gives you the flexibility to design your ideal music appreciation course. Listen to This also encourages students to explore history, culture, and musical styles through active listening, not just through passive reading. By concentrating on the elements of music, students develop the ability to connect earlier music with their own music. Praised by students and instructors alike for its engaging writing style, stunning design, and flexible format, this text will instill a life-long appreciation and understanding of music in your students by expanding their playlist today!

目次

  • The Elements of Music: A Brief Introduction Melody Sci-Tech: The acoustics of melody Rhythm Harmony Cultural Contexts: Illegal Harmony? Texture Timbre Sci-Tech: The acoustics of timbre Dynamics Form Word-Music Relationships Genre Part One: The Middle Ages Part-opener: The Middle Ages The Middle Ages: An Overview Chapter 1. Hildegard von Bingen: Play of Virtues (excerpt) (3:30) Texture. Primarily monophonic. Melody. Primarily conjunct, occasionally disjunct. Cadences. Word-Music Relationships. Primarily syllabic, occasionally melismatic. Rhythm. Primarily free, but at one point in duple meter. Listening Guide Bio: Visions Through Music The Composer Speaks: Hildegard Defends the Practice of Music Cultural Contexts: The Morality Play Expand Your Playlist: Chant(Christian plainchant, Buddhist, Hindu, Islamic, Jewish chant) Chapter 2. San Ildefonso Indians of New Mexico: Eagle Dance (3:00) (Global Connection: Chant) Texture. All voices sing one melodic line together. Word-Music Relationships. Vocables. Voices as instruments. Form. A-B-A. Melody. A terraced melody. Listening Guide Cultural Contexts: The Powwow Expand Your Playlist: Native American Music Chapter 3. Francesco Landini: "Behold, Spring" (1:13) Texture: Polyphonic. Rhythm. Triple meter. Melody. Largely stepwise
  • each unit ends with a cadence. Form. Shaped by form of text, with repeated text set to same music (ABBA). Word-Music Relationships. Largely syllabic, occasionally melismatic. Listening Guide Bio: The Composer as Poet The Money Trail: Producing a Manuscript Expand Your Playlist: Medieval polyphony (Perotin, Machaut, da Firenze) Chapter 4. Alfonso el Sabio: Songs to the Virgin Mary no. 249, "He Who Gladly Serves" (1:48) Timbre: Contrast between the percussion instruments (two drums) and the wind instruments (two shawms). Form: Repetition and variation of short melodic units throughout (A, B, and C). Texture: Three distinct textures on the shawms: unison, homophony, heterophony. Listening Guide Bio: The King Gets All the Credit Map: Islam in Europe Sci-Tech: Reed Instruments Expand Your Playlist: Instrumental music of the Middle Ages Music of the Middle Ages: A Summary In Review: Medieval Style Part Two: The Renaissance Part-opener: The Renaissance The Renaissance: An Overview Chapter 5. Josquin des Prez: "The Cricket"(1:27) Texture: Essential equality of voices
  • texture is polyphonic. Word-Music Relationships: Examples of word-painting. Form: Three different sections, based on the three different sections of the text
  • each has its own melodic material: Listening Guide Bio: "Master of the Notes" Map: Stations in a Career Music in Performance: Playing and Singing Expand Your Playlist: The Music of Sounds (Janequin, the Kaluli, Messiaen, Bali musicians, Honegger, Strayhorn, Beethoven, Tchaikovsky ) Chapter 6. Thomas Weelkes: "Since Robin Hood"(1:08) Texture: Polyphonic
  • three distinct voices. Rhythm: Relationship between poetic meter and musical meters. Word-Music Relationships: Word-painting. Listening Guide Bio: A Shakespearean Composer Cultural Contexts: Musicians as Spies Expand Your Playlist: The Italian Madrigal (Arcadelt, de Rore, Luzzaschi, Marenzio, Monteverdi) Chapter 7. William Byrd: "Sing Joyfully"(2:49) Texture: Polyphonic (six voices). Imitation. Form: Sectional. The form of the music follows the form of the text. Word-Music Relationships: Word-painting
  • relationship of certain words to emotions. Listening Guide Bio: A Catholic Composer at a Protestant court The Composer Speaks: Eight Reasons for Learning How to Sing Music in Performance: The Sound of the All-Male Choir Expand Your Playlist: Sacred Music of the Renaissance (Tallis, Luther, Walter, Palestrina) Chapter 8. Rhyming Singers of the Bahamas: "My Lord Help Me To Pray"(2:07) (Global Connection: Polyphony) Texture: Call-and-response, overlap Melody: Intonations
  • rhyme, treble, and bass parts Word-music Relationships: Couplets, added words Cultural Contexts: Bob Marley and the Birth of Reggae Expand Your Playlist: Music of the Caribbean Chapter 9. Tielman Susato: Moorish Dance (1:55) Timbre: Three main families of Renaissance instruments: winds, strings, percussion. Rhythm: Regularity of dance music, small units repeated many times. Form: Binary form. Sections repeated more than once. Listening Guide Bio: The Composer as Publisher The Money Trail: The Business of Music Publishing Expand Your Playlist: Instrumental Music of the Renaissance Making Connections: Music of the Middle Ages and the Renaissance In Review: Renaissance Style Part Three: The Baroque Era Part-opener: The Baroque The Baroque: An Overview Chapter 10. Claudio Monteverdi: Orpheus, selection from Act II (3:34) Texture: Homophony, essential in opera. Basso continuo. Choral sections are polyphonic. Word-Music Relationships: Music enhances words
  • recitative vs. polyphonic chorus. Listening Guide Bio: Master of Old and New Styles The Money Trail: Monteverdi Turns Down a Job Offer Expand Your Playlist: Old and New Practices in the Seventeenth Century (Gabrieli, Schutz, Cavalli) Chapter 11. Henry Purcell: Dido and Aeneas: Overture and Act I, nos. 1-4 (6:37) Form: Overture, scene and chorus, song (with ostinato, or ground bass), recitative Word-music relationships: Difference between recitatives, arias, and numbers for chorus. Listening Guides Bio: Inspired by the Stage Music in Performance: Opera in English Expand Your Playlist: Baroque Opera (Lully, Charpentier, Handel, Rameau) Chapter 12. Mbuti Pygmies: "Marriage Celebration Song" (1:02) (Global Connection: Ostinato) Texture: Call-and-response, heterophony, hocket Rhythm: Rhythmic interlock Form: Call-and-response (ABBB), ostinato Cultural Contexts: Do I Repeat Myself? (Use of ostinato in doo wop) Expand Your Playlist: Singing in the Rain(forest) Chapter 13. Barbara Strozzi: "Revenge"(2:19) Melody: The alternation of two contrasting melodies
  • embellishment. Form: Contrast and repetition using meter
  • refrain Timbre: Back-and-forth between voices and instruments (two violins)
  • basso continuo underlying all. Listening Guide Bio: "Secure from the lightning bolts of slander" Cultural Contexts: Women Composers in the Baroque Era Expand Your Playlist: Baroque Chamber Music (Corelli, Pachelbel, Marais) Chapter 14. J. S. Bach: Fugue in G minor, BWV 578 ("Little") (4:26) Timbre: The organ and (in an alternative performance) the orchestra, using Leopold Stokowski's arrangement to contrast the organ with the modern orchestra. Melody: One theme
  • three sections, each moving faster than the one before Texture: The fugue. Listening Guide Bio: New Jobs, New Genres Map:Bach's World Music in Performance: Changing the Sound, but Not the Notes (Stokowski transcription) Expand Your Playlist: Baroque Organ Music (Sweelinck, Buxtehude, Bach) Chapter 15. Hmong People of Laos: GaengSchoolSong (4:03) (Global Connection: Instrumental counterpoint) Melody: Melody in the middle, surrogate speech Texture: Counterpoint Rhythm: Rhythms moving counter to one another Sci-Tech: Free Reeds Expand Your Playlist: TheGaeng's All Here! (other Asian mouth organs, the harmonica) Chapter 16. Antonio Vivaldi: Four Seasons, "Winter," first movement (3:35) Timbre: Soloist (violin) vs. orchestra (strings and basso continuo). Form: Ritornello structure. Word-music relationships: The relationship between Vivaldi's music and the poem "Winter" appended to the first publication of the work. Listening Guide Bio: Composing for Orphans Sci-Tech: Trade Secrets: Building the Perfect Violin Expand Your Playlist: Program music (Kuhnau, Marais, Beethoven, Berlioz, Gershwin, Adams) Chapter 17. J. S. Bach: Brandenburg Concerto no. 2 in F Major, BWV 1047, finale (2:51) Timbre: Contrast of sound quality among the four soloists, and between the four soloists and the orchestra. Form: Ritornello principle. Texture: Fugue. Listening Guide Music in Performance: The Art of Trumpet Playing, Lost and Found Expand Your Playlist: The Baroque Concerto (Corelli, Vivaldi, Handel, Bach) Chapter 18. George Frideric Handel: Water Music, selections (3:28) Rigaudon I (1:04) Hornpipe (2:24) Form: Binary form. Rhythm: Regularity of patterns. Timbre: Contrasting orchestrations. Listening Guides Bio: The Well-Traveled Composer Map: Handel's travels Cultural Contexts: The Composer as Cultural Hero Expand Your Playlist: Baroque Suites (Jacquet de la Guerre, Couperin, Bach, Handel) Chapter 19. Johann Sebastian Bach: Cantata 140 ("Awake, a Voice Calls to Us"), selections Chorus: Wachet auf, ruft uns die Stimme (6:06) Chorale: Gloria sei dir gesungen (1:32) Timbre: Contrast/lack of contrast between chorus and orchestra Melody: Clear phrases for singing
  • contrasting ideas inserted, in first movement Form: The chorale as basis for form
  • first movement with contrasting ritornello Texture: Homophonic vs. polyphonic Listening Guides The Money Trail: Bach's Working Conditions Expand Your Playlist: Sacred Music of the Late Baroque (cantatas, masses, motets, oratorios by Bach, Delalande, A. Scarlatti, Carissimi, Handel) Chapter 20. G. F. Handel: Messiah, selections (6:14) He that dwelleth in heaven (recitative) Thou shalt break them (aria) Halleluiah (chorus) Form: Recitative-aria pairing (aria structured according to the ritornello principle) and chorus (musical structure follows that of the text). Word-music relationships: Music captures the essence of each text's key words ("break" "dash" "halleluiah"). Melody: One melody vs. multiple melodies Texture: From homophony in recitative to full array in chorus Timbre: Expanding variety. Listening Guides Cultural Contexts: Why Stand? (tradition of the "Hallelujah" Chorus) Expand Your Playlist: Covering the"Hallelujah" Chorus (Mozart, J. Mathis, the Roches, Q. Jones, Alsop, Mannheim Steamroller, Relient k) Making Connections: Music of the Renaissance and Baroque In Review: Baroque Style Part Four: The Classical Era Part-opener: The Classical Era The Classical Era: An Overview Chapter 21. Joseph Haydn: String Quartet op. 76, no. 3, second movement (6:51) Timbre: The blend of the ensemble. Texture: Creating variety. Melody: Clear sections/sub-units (period phrase structure). Form: Theme and variations. Listening Guide Bio: Writing to Order Cultural Contexts: Musical Appropriation Expand Your Playlist: Chamber Music and Solo Keyboard Music of the Classical Era (Haydn, Mozart, C.P.E Bach, J.C. Bach) Chapter 22. Master Musicians of the Ikuta-ryu (Japan): Cherry Blossom (2:33) (Global Connection: Theme and variations) Timbre: Koto timbre Melody: The wilt of sorrow Form: Theme and variations Texture: Simulating two musicians The Money Trail: Geisha in Japanese Life Expand Your Playlist: Zither-Dee-Dee (zithers around the world) Chapter 23. Haydn: Symphony no. 102, second and third movements (11:17) Timbre: Thevolume and breadth of sound of the full orchestra. Dynamics: Frequent changes, very loud to very soft. Minuet Form: Minuet and Trio
  • rounded binary form. Rondo Form: Rondo. Listening Guides Map: Haydn's Travels Cultural Contexts: Concerts and Concert Manners in the Classical Era The Composer Speaks: Haydn in London Expand Your Playlist: Haydn's symphonies Chapter 24. Wolfgang Amadeus Mozart: Symphony no. 40, first movement (7:31) Form: Sonata form. Harmony: Contrasting key areas. Melody: Character of themes. Listening Guide Bio: The Composer as Chameleon Map: Mozart's Travels Cultural Contexts: The Drama of Sonata Form Cultural Contexts: Mozart's Sister Expand Your Playlist: Mozart's Symphonies Chapter 25. W. A. Mozart: Piano Concerto K. 488, first movement (10:38) Timbre: Soloist (piano) and orchestra. Melody: Numerous and varied melodies. Form: Double-exposition concerto form
  • the cadenza. Listening Guide The Money Trail: Mozart's Concerts: The Bottom Line (Mozart as impresario, composer, conductor, ticket-seller) Music in Performance: Mozart on Modern Instruments Expand Your Playlist: The Classical Concerto (C.P.E. Bach, J.C. Bach, Mozart, Haydn, Martinez) Chapter 26. W. A. Mozart: The Marriage of Figaro, Act I, selection (4:30) "Cosa sento" Word-Music Relationships: The character of each voice, the musical relationships among the voices. Form: Determined by the drama. Melody: Different styles for different purposes. Listening Guide Music in Performance: Behind the Scenes at the Opera Expand Your Playlist: Opera in the Classical Era (Mozart, Gluck) Chapter 27. Lisa Lu and the Beijing Opera Company: The Reunion (2:41) (Global Connection: Recitative and aria) Melody: Recitative and aria Word-music Relationships: Chinese language tones Timbre: A strident timbre Texture: Heterophony and polyphony Rhythm: A rhythmic design Cultural Contexts: Jingju and the Cultural Revolution Expand Your Playlist: Traditional Chinese Music Making Connections: Music of the Baroque and Classical Eras In Review: Classical Style Part Five: The Nineteenth Century Part-opener: The Nineteenth Century The Nineteenth Century: An Overview Chapter 28. Ludwig van Beethoven: Symphony no. 5 (complete) (30:13) Rhythm: Use of the opening brief rhythmic motif throughout the entire work. Dynamics: Repeated and sudden contrasts between loud and soft throughout the symphony. Timbre: The orchestra grows. Form: Cycle of four movements consisting of: First movement: Sonata form. Second movement: Alternating theme and variations, a set of variations on two different themes. Third movement: ABA, leading without a break into the Fourth movement: Sonata form again, but with the surprise return of material from the third movement just before the recapitulation. Listening Guides Bio: Composing through Deafness Cultural Contexts: Fate? (Schindler's stories) Expand Your Playlist: Beethoven's Other Symphonies Chapter 29. Franz Schubert: "Erlking,"D. 328 (4:02) Form: Modified strophic form. Word-Music Relationships. Characters in the work
  • different range of their voices. Listening Guide Bio: Turning Poetry into Music Expand Your Playlist: Schubert's songs Chapter 30. Felix Mendelssohn: Overture to A Midsummer Night's Dream (12:21) Word-Music Relationships: Music reflects many of the leading characters in Shakespeare's Midsummer Night's Dream. Form: Sonata form, but without a repeat of the exposition. Listening Guide Bio: The Cosmopolitan Composer The Composer Speaks: Mendelssohn's Comments on his Midsummer Night's Dream Overture Expand Your Playlist: Shakespeare in Music (Berlioz, Liszt, Verdi, Tchaikovsky, Prokofiev, Porter, Bernstein) Chapter 31. Hector Berlioz: Symphonie fantastique, fourth movement ("March to the Scaffold") (4:02) Timbre: The modern orchestra. Discussion of instruments. Word-Music Relationship: The program
  • its implications for the music. Form: Alternation of major and minor mode
  • program. Listening Guide Bio: Music as Autobiography Sci-Tech: How Loud is Too Loud? Expand Your Playlist: The Music of Dreams (Schubert, Bellini, Mendelssohn, Schumann, Elgar, Monk, Costello) Chapter 32. Fanny Mendelssohn Hensel: Piano Trio, op. 11, second movement (6:33) Timbre: The piano trio Word-music relationships: A song without words Melody: Metamorphosis Listening Guide Bio: Overcoming Obstacles Cultural Contexts: Women Composers of the Nineteenth Century (Szymanowska, Farrenc, Schumann, Holmes, Chaminade, Carreno, Beach) Expand Your Playlist: Chamber Music in the Nineteenth Century (Beethoven, Schubert, Mendelssohn, Brahms) Chapter 33. Robert Schumann: "Dedication"(2:46) Form: Patterns of repetition and variation. Harmony: Modulation. Melody: Contour, high points, contrast. Rhythm: Creating contrast in the accompaniment, as well as in the melody. Listening Guide Bio: The Composer as Critic Expand Your Playlist: The Song in the Nineteenth Century (Brahms, Wolf, Mahler, Faure, Debussy, Mussorgsky, Foster) Chapter 34. Clara Schumann: "Forward!" (1:20) Timbre: A cappella choral music. Melody: Return and contrast. Word-Music Relationships: Political music, the revolutions of 1848/49. Word-painting. Listening Guide Bio: Independent Spirit Cultural Contexts: Music and Politics Expand Your Playlist: Political Music (from the French Revolution, the Civil War, the Civil Rights Movement, the Vietnam War) Chapter 35. Chopin: Mazurka in Bb, op. 7, no. 1, and Nocturne in Eb, op. 9, no.2(6:59) Mazurka in Bb major, op. 7, no. 1 Texture: Primarily homophonic, with a drone bass at one point. Melody: Scales going up, scales going down Rhythm: Typical of Polish dance
  • a rocking, lullabye rhythm Form: Chopin uses repetition, variation, and contrast with just a few brief melodic ideas (A, B, C) to create a larger whole . Listening Guide Nocturne in Eb major, op. 9, no. 2 Texture: Thoroughly homophonic. Parallels to song. Melody: Lyricism and improvisation. Form: Variation and contrast. Listening Guide Bio: A Polish Composer in France Music in Performance: Speeding Up and Slowing Down: Robbed Time Expand Your Playlist: Piano Music of the Nineteenth Century (Beethoven, Schumann, Liszt, Brahms) Chapter 36. Louis Moreau Gottschalk: Union(7:26) Melody: Featuring three well-known patriotic tunes: "The Star-Spangled Banner"
  • "Hail, Columbia!"
  • and "Yankee Doodle." Texture: Melodies are first presented in homophonic texture, then combined to produce polyphonic texture. Listening Guide Bio: The Musician as Showman Map: Gottschalk's Concert Tours (Eastern U.S., Latin America, W. Europe, ca. 1860) Cultural Contexts: Music in the Civil War Expand Your Playlist: The Nineteenth-Century Virtuoso (Paganini, Liszt, Paderewski) Chapter 37. Ravi Shankar (India): Raga Bairaga (5:34) (Global Connection: Virtuosity) Melody: Themes in a raga scale Texture: A three-part texture Form: Four sections Rhythm: Fixed, repeated pulse cycles Cultural Contexts: Meet the Sitar Expand Your Playlist: Raga Chapter 38. Giuseppe Verdi: La Traviata, Act I, selection (4:51) ("Follie!...Sempre libera") Melody: Contrast in styles between recitative and aria. Word-music relationships: Virtuosity
  • melismatic vs. syllabic text-setting. Listening Guide Bio: The Composer as Social Reformer Map: Verdi's Italy (ca. 1850) Cultural Contexts: The Diva Expand Your Playlist: The Art of the Diva (recordings of this selection by Sutherland, Tebaldi, Te Kanawa, Netrebko) Chapter 39. Richard Wagner: The Valkyrie, Act III, selection ("Wotan's farewell") (4:44) Texture: Relationship of the voices with the orchestra (the two blend into a single unit). Word-music relationships: Return of certain musical motifs with certain ideas in the story. Listening Guide Bio: The Composer as Radical Map: Wagner's Travels Cultural Contexts: Wagner and Tolkien: A Tale of Two Rings Expand Your Playlist: Opera in the Nineteenth Century (Rossini, Bellini, Verdi, Bizet, Puccini, von Weber, Sullivan) Chapter 40. Johannes Brahms: Symphony no. 4, finale (9:35) Form. Variations on a very short theme. Timbre. Each variation has its own distinctive sound. Various groups of instruments engage in dialogue with one another. Listening Guide Bio: The Composer as Hedgehog Music in Performance: The Conductor Expand Your Playlist: The Art of the Conductor (Weingartner, Toscanini, L. Bernstein, Alsop) Chapter 41. Antonin DvoYak: String Quartet in F Major, op. 96 ("American"), third movement (4:07) Timbre: Blend and contrast. Melody: Varied return of the melody
  • contrast of the melody separating returns. Form: Dvorak uses all of the above to build large-scale sections. Listening Guide Bio: In Search of National Sounds Map: DvoYak's Travels The Composer Speaks: The Sources of an American Musical Style Music in Performance: How to Make a Quartet Expand Your Playlist: Nationalism in Nineteenth-Century Music (Smetana, Borodin, Brahms, Chabrier, Gottschalk, Rimsky-Korsakov) Making Connections: Music of the Classical Era and the Nineteenth Century In Review: Nineteenth-Century Style Part Six: The Twentieth Century Part-opener: The Twentieth Century The Twentieth Century: An Overview Chapter 42. Claude Debussy: Voiles from Preludes, book 1(4:10) Timbre: Non-percussive Melody: Fragments Dynamics: Piano and pianissimo Rhythm: Resisting fixed patterns Harmony: Whole-tone, less directional, less goal-oriented (Impressionism) Form: Non-directional Listening Guide Bio: The Path Less Taken Cultural Contexts: Impressionism Expand Your Playlist: Impressionism (Ravel, Delius, Griffes, Falla) Chapter 43. Gamelan Gong Kebyar of Belaluan (Bali): Kebyar Ding III, "Oncang-oncangan"(2:56) (Global Connection: Harmony and timbre) Timbre: Shimmering, a "beat tone" Melody, Texture: Interlocking parts Dynamics: Frequent variation
  • homorhythm Form: Six sections with varied tempo and dynamics Cultural Contexts: Got a Minimalist? Expand Your Playlist: Gamelan Music Chapter 44. Charles Ives: The Unanswered Question (4:32) Timbre: Three contrasting groups of instruments. Texture: Layers. Harmony: Tonal vs. atonal (Schoenberg, Berg, Bartok) Listening Guide Bio: Against the Grain Expand Your Playlist: Tonal vs. Atonal (Schoenberg, Berg, etc.) Chapter 45. Arnold Schoenberg: "Columbine" from Pierrot lunaire (1:37) Timbre: Sprechstimme. The aesthetics of the scream, the un-beautiful. Harmony: Atonality. Word-music relationships: Expressing anguish Listening Guide Bio: The Composer as Outsider Cultural Contexts: Expressionist Film Expand Your Playlist: Expressionism (Webern, Berg, KYenek) Chapter 46. Igor Stravinsky: Rite of Spring, Part 1 (excerpt) (8:12) Harmony: Polytonality Melody: Pentatonic Rhythm: Ostinato, changing meters Timbre: The mega-orchestra Word-music relationships: Programmatic elements shaped by the scenario. Listening Guide Bio: "Modernsky" Map: Stations in Stravinsky's Life The Money Trail: The Business of Dance Music in Performance: The Audience Riots Expand Your Playlist: Ballet Music (Adam, Delibes, Tchaikovsky, Poulenc, Prokofiev) Chapter 47. Berta (Sudan) Waza: Greetings by Aba Musa! (Global Connection: polytonality) Melody: Interlock, ostinato Harmony: Polytonality Texture: Layers of interlocking parts Rhythm: Fast cycle, cross rhythms Cultural Contexts: Polytonality in Jazz Expand Your Playlist: Come Blow Your Horn! (Horns music from around the world) Chapter 48. Scott Joplin: Maple Leaf Rag (3:13) Rhythm: Syncopation ("Rag"). Melody: Hidden melodies and stride bass Form: Sectional structure based on units of distinct themes and tonalities. Listening Guide Bio: The King of Ragtime Music in Performance: Should You Play the Notes in the Score? The Money Trail: Making Money on a Hit (the sheet music industry) Expand Your Playlist: Rooted in Ragtime ( J. P. Johnson, Z. Confrey, Jelly Roll Morton, Lux Lewis, Marcus Roberts) Chapter 49. Robert Johnson: "Terraplane Blues"(3:02) Melody: "Blue" note. Timbre: Recording effects, stylized diction, guitar timbres Form: Blues form (eight- and twelve-bar), larger principles of form based on repetition, variation, return. Word-music relationships: Metaphors and the vernacular Listening Guide Bio: A Deal with the Devil Music in Performance: Who Wrote the Blues? Expand Your Playlist: The Blues in Different Styles (Johnson covers by Cream, Rolling Stones, Fleetwood Mac) Chapter 50. Duke Ellington: Cotton Tail (3:10) Harmony: Rhythm changes Texture: Sections take on different roles
  • call-and-response Rhythm: Swing Form: 32-bar standard song form Listening Guide Bio: Composing Jazz and Beyond Cultural Contexts: The Swing Revival Expand Your Playlist: Rhythm Changes in Jazz (Benson, Basie, Gillespie, Davis, Fitzgerald) Chapter 51. Charlie Parker: Ornithology (3:02) Timbre: Jazz combo Melody: Bebop characteristics Texture: Rhythm section plus soloist Form: Sectional, improvised Listening Guide Bio: The Self-Destructive Artist Music in Performance: Improvisation Expand Your Playlist: From Bebop to Free Jazz (Rollins, Davis, Fitzgerald, Coltrane, Colman) Chapter 52. Ruth Crawford: Piano Study in Mixed Accents (1:07) Rhythm: Irregular rhythmic groupings, rather than a fixed meter Texture: Monophonic (entirely in octaves) Harmony: No harmonies Melody: The single melodic line centers on no fixed tonic. Register becomes particularly important. Form: Sectional Listening Guide Bio: Modernist Composer and Folksong Arranger Cultural Contexts: Twelve-tone Composition Expand Your Playlist: Women Composers of the Twentieth Century (Musgrave, Oliveros, Tower, Zwilich, Larsen, Higdon) Chapter 53. Germaine Tailleferre: Concertino for Harp and Orchestra, finale(5:11) Melody: Symmetry Harmony: Tonal, with modern inflections (Neo-Classicism). Timbre: Transparency Form: Rondo. Use of traditional form (Neo-Classicism). Listening Guide Bio: One of Six Cultural Contexts: Using the Past to Send a Message Expand Your Playlist: Neo-Classicism (Stravinsky, Ravel, Hindemith, Prokofiev, Milhaud, Shostakovich) Chapter 54. William Grant Still: "A Black Pierrot"from Songs of Separation(2:26) Key Concepts: Art song, chromatic harmony Harmony: Chromatic harmony. Melody: Register and scale
  • blue notes. Form: Through-composed. Listening Guide Bio: A Career of Firsts Cultural Contexts: The Harlem Renaissance Expand Your Playlist: Twentieth-Century African American Composers in the Western Classical Tradition (M. Bonds, H. Burleigh, G. Walker, F. Price, K. Jarrett) Chapter 55. Aaron Copland: "Hoe-Down" from Rodeo ( 3:27) Melody: Traditional fiddle tunes Timbre: Orchestration (especially percussion and fiddle-like sounds)
  • an open sound evoking the American West. Rhythm: Dance rhythms Form: Rondo. Relation to square-dance tradition. Listening Guide Bio: Populist Modernist Cultural Contexts: "Are You Now or Have You Ever Been...?" (Musicians and McCarthyism) Cultural Contexts: Using "Hoe-Down" Expand Your Playlist: The Sound of the West (Copland, Grofe, Tiomkin, E. Bernstein, Morricone) Chapter 56. Leonard Bernstein: "Tonight" from West Side Story (ensemble) (3:52) Melody: Contrasting emotions in melody. Texture: Increasingly complex textures. Form: Additive form. Word-music relationships: Two different ways of singing the same word. Listening Guide Bio: Four Lives in One The Composer Speaks: Leonard Bernstein on Musical Modernism Expand Your Playlist: Broadway's Social Conscience (Showboat, South Pacific, My Fair Lady, Les Miserables, Miss Saigon, Rent) Chapter 57. John Cage: 4'33" (NB: No recording to be used) What do you actually hear during any span of time? Bio: What is a Composer? The Composer Speaks: John Cage on 4'33" Cultural Contexts: Paying for Silence Expand Your Playlist: Avant-garde composers of the Twentieth Century (Cowell, Partch, Boulez, Stockhausen, Crumb) Chapter 58. Philip Glass: "Knee Play 1" from Einstein on the Beach. (3:33) Timbre: Three layers of sound. Harmony: Simple and repetitive harmonic progression. Form: Ostinato, and repetition and variation of short fragments. Listening Guide Bio: Prolific Minimalist Music in Performance: Minimalism on the Dance Floor Expand Your Playlist: Minimalism (Riley, Eno, Reich, Adams, Kraftwerk, Daft Punk, Nine-Inch Nails) Chapter 59. Hank Williams: "I Can't Help It (If I'm Still in Love with You)" (2:25) Texture: Honky-tonk texture Timbre: Raw and natural Form: 32-bar binary form (AABB) Word-music relationships: Vocal expressions Listening Guide Bio: The Legend of Hank Williams Cultural Contexts: The Grand Ole Opry Expand Your Playlist: Hank and Honky-tonk in Different Styles (A. Jackson, E. Harris, R. Charles, N. Jones) Chapter 60. Chuck Berry: "School Day"(2:43) Rhythm: Shuffle rhythm, stop time Timbre: Instrumentation, electronic instruments, amplification. Texture: Call-and-response, consistent texture Form: Sectional, connections to dance, blues, etc. Listening Guide Bio: Musical Recipe for Rock `n' Roll Sci-Tech: Television and the Rise of Rock `n' Roll Expand Your Playlist: Styles of Early Rock `n' Roll (Presley, Bill Haley and His Comets, B. Holly, J.L. Lewis, Fats Domino, Little Richard) Chapter 61. Mahalia Jackson: "It Don't Cost Very Much" (3:18) Form: Simple verse-chorus. Timbre: Black gospel. Rhythm: Shuffle groove, rhythmic liberties. Harmony: Chord progressions that propel music toward cadences. Listening Guide Bio: A Divine Collaboration (with Dorsey) Cultural Contexts: Gospel in Black and White Expand Your Playlist: Southern and Black Gospel (Stamps Quartet, Golden Gate Quartet, Red Foley, Dixie Hummingbird, Blackwood Brothers) Chapter 62. Marvelettes: "Please, Mr. Postman" (2:29) Timbre: The Motown Sound Harmony: Doo-wop progression Form: Melodic "hooks"
  • verse-chorus form. Listening Guide Bio: An Orchestrated Collaboration The Money Trail: Reading Labels Expand Your Playlist: Close Harmony in Different Styles (Chords, Coasters, Beatles, Manhattan Transfer, D. Parton, *NSYNC) Chapter 63. Beach Boys: "Good Vibrations" (3:36) Harmony: Minor chords and a shaped progression Texture: Layered, polyphonic Timbre: Experimental instrumentation and multi-tracked vocal timbres Form: Verse-chorus plus sectional Listening Guide Bio: Making the Album that Never Was Cultural Contexts: The Summer of Love Expand Your Playlist: Psychedelia (Byrds, Beatles, Jefferson Airplane, Pink Floyd, Beatles, Brian Wilson) Chapter 64. Sex Pistols: "God Save the Queen" (3:23) Word-music relationships: Cynicism, irony, and quotation Melody: Minimalist melodies Timbre: Raw vocals, hard rock timbre, distortion. Form: AABA standard song form expanded Listening Guide Bio: The Original British Punks Music in Performance: The "Do It Yourself" Aesthetic Expand Your Playlist: Punk and New Wave (Ramones, Dead Kennedys, Elvis Costello, The Cars, Blondie) Chapter 65. Public Enemy: "Fight the Power" (4:36) Timbre: Use of sampling and sequencing technologies. Form: Verse-chorus, with some additions. Rhythm: Regular dance beat. Word-music relationships: Politically charged hip hop rhymes and references. Listening Guide Bio: Politics and Music Cultural Contexts: Hip Hop's Elements Expand Your Playlist: Musical References in Fight the Power (Elvis Presley, Sly and the Family Stone, James Brown, Public Enemy, Bobby McFerrin) Chapter 66. Tania Leon: A la Par, second movement("Guaguanco") (2:27) Timbre: Afro-Cuban percussion instruments and piano. Rhythm: Cuban melodic-rhythmic devices Harmony: Parallel harmonies. Form: Sectional form. Listening Guide Bio: Resisting Labels Cultural Contexts: Postmodern Architecture Expand Your Playlist: Postmodern Music (Rochberg, Zorn, Bolcom, Berio, Schnittke) Chapter 67. Tan Dun: "Farewell" from Crouching Tiger, Hidden Dragon (2:25) Timbre: Eastern and Western timbres. Melody: Fluidity. Texture: Symbolic, registers representing lovers. Listening Guide Bio: Composer in Two Worlds Sci-Tech: Matching images with sound (recording techniques for film music) Expand Your Playlist: Film Music (Steiner, Hermann, Williams, Korngold, Goldsmith, Shore) Making Connections: Music of the Nineteenth and Twentieth Centuries In Review: Twentieth-Century Style Part Seven: Music Today Data Collection: Listen First What are the Words? Doing the Research Data Collection: Melody, Rhythm, Harmony Data Collection: Texture, Timbre, Dynamics Form Word-Music Relationships Creating Your Own Analysis Appendix 1: Instruments Appendix 2: Musical Notation Glossary Index

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