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Copyright, ii
About the Author, iii
Preface, xvii
Part I. Elements, 1
1. Sound: Pitch, Dynamics, and Tone Color, 4
Pitch: Highness or Lowness of Sound, 4
Dynamics, 6
Tone Color, 7
Listening Outlines, Vocal Music Guides, and the Properties of Sound, 7
The Firebird, Scene 2 (1910), by Igor Stravinsky, 8
LISTENING OUTLINE, 8
C-Jam Blues (1942), by Duke Ellington and His Famous Orchestra, 9
LISTENING OUTLINE, 9
2. Performing Media: Voices and Instruments, 9
Voices, 9
Musical Instruments, 10
String Instruments, 12
Woodwind Instruments, 15
Brass Instruments, 19
Percussion Instruments, 20
Keyboard Instruments, 24
Electronic Instruments, 26
The Young Person’s Guide to the Orchestra, Op. 34 (1946), by Benjamin Britten, 28
LISTENING OUTLINE, 28
3. Rhythm, 30
Beat, 30
Meter, 31
Accent and Syncopation, 32
Tempo, 32
4. Music Notation, 33
Notating Pitch, 33
Notating Rhythm, 35
Notating Silence (Rests), 36
Notating Meter, 36
The Score, 36
5. Melody, 38
6. Harmony, 41
Consonance and Dissonance, 41
The Triad, 41
PERFORMANCE PERSPECTIVE: Roger Kamien, Pianist, Playing Chopin’s Prelude in E Minor, 42
Broken Chords (Arpeggios), 43
Prelude in E Minor for Piano, Op. 28, No. 4 (1839), by Frédéric Chopin, 43
LISTENING OUTLINE, 44
7. Key, 44
The Major Scale, 45
The Minor Scale, 46
The Key Signature, 47
The Chromatic Scale, 47
Modulation: Change of Key, 47
Tonic Key, 48
8. Musical Texture, 48
Monophonic Texture, 48
Polyphonic Texture, 48
Homophonic Texture, 49
Changes of Texture, 50
Farandole from L’Arlésienne Suite No. 2 (1879), by Georges Bizet, 50
LISTENING OUTLINE, 51
9. Musical Form, 52
Techniques That Create Musical Form, 52
Repetition, 52
Contrast, 52
Variation, 53
Types of Musical Form, 53
Three-Part (Ternary) Form: A B A, 53
Dance of the Reed Pipes from Nutcracker Suite (1892), by Peter Ilyich Tchaikovsky, 53
LISTENING OUTLINE, 54
Two-Part (Binary) Form: A B, 55
Contradance No. 7 in E Flat Major from Twelve Contradances for Orchestra (1801), by Ludwig van Beethoven, 55
LISTENING OUTLINE, 55
Listening for Form, 56
10. Musical Style, 57
Part II. The Middle Ages and Renaissance, 59
1. Music in the Middle Ages (450–1450), 65
Gregorian Chant, 65
The Church Modes, 67
Alleluia: Vidimus Stellam (We Have Seen His Star), 67
VOCAL MUSIC GUIDE, 68
O successores (You successors), by Hildegard of Bingen, 69
VOCAL MUSIC GUIDE, 70
Secular Music in the Middle Ages, 71
Estampie (Thirteenth Century), 72
The Development of Polyphony: Organum, 72
School of Notre Dame: Measured Rhythm, 73
Fourteenth-Century Music: The “New Art” in France, 74
Guillaume de Machaut, 74
Puis qu’en oubli sui de vous (Since I am forgotten by you; around 1363), 74
VOCAL MUSIC GUIDE, 75
Notre Dame Mass (Mid-Fourteenth Century), 76
PERFORMANCE PERSPECTIVE: Andrew Parrott Conducting the Agnus Dei from Machaut’s Notre Dame Mass, 77
VOCAL MUSIC GUIDE: Agnus Dei, 78
2. Music in the Renaissance (1450–1600), 78
Characteristics of Renaissance Music, 79
Words and Music, 79
Texture, 79
Rhythm and Melody, 80
Sacred Music in the Renaissance, 80
Josquin Desprez and the Renaissance Motet, 80
Ave Maria . . . Virgo Serena (Hail, Mary . . . Serene Virgin; c. 1475), 81
VOCAL MUSIC GUIDE, 82
Palestrina and the Renaissance Mass, 82
Pope Marcellus Mass (1562–1563), 84
VOCAL MUSIC GUIDE: Kyrie, 85
Secular Music in the Renaissance, 85
Vocal Music: The Renaissance Madrigal, 85
As Vesta Was Descending (1601), by Thomas Weelkes, 86
VOCAL MUSIC GUIDE, 87
Instrumental Music, 87
Passamezzo and Galliard, by Pierre Francisque Caroubel, from Terpsichore (1612), by Michael Praetorius, 89
Part III. The Baroque Period, 91
1. Baroque Music (1600–1750), 96
Characteristics of Baroque Music, 97
Unity of Mood, 97
Rhythm, 97
Melody, 97
Dynamics, 97
Texture, 98
Chords and the Basso Continuo (Figured Bass), 98
Words and Music, 99
The Baroque Orchestra, 99
Baroque Forms, 100
2. Music in Baroque Society, 100
3. The Concerto Grosso and Ritornello Form, 103
Brandenburg Concerto No. 5 in D Major (about 1721), by Johann Sebastian Bach, 104
LISTENING OUTLINE: First Movement, 105
4. The Fugue, 107
Organ Fugue in G Minor (Little Fugue; about 1709), by Johann Sebastian Bach, 108
LISTENING OUTLINE, 109
5. The Elements of Opera, 110
6. Opera in the Baroque Era, 114
7. Claudio Monteverdi, 116
Orfeo (Orpheus, 1607), 117
VOCAL MUSIC GUIDE: Tu se’ morta, 119
8. Henry Purcell, 119
Ground Bass, 120
Dido and Aeneas (1689), 120
VOCAL MUSIC GUIDE: Dido’s Lament, 121
9. The Baroque Sonata, 122
Trio Sonata in A Minor, Op. 3, No. 10 (1689), by Arcangelo Corelli, 123
10. Antonio Vivaldi, 124
La Primavera (Spring), Concerto for Violin and String Orchestra, Op. 8, No. 1, from The Four Seasons (1725), 125
LISTENING OUTLINE: First Movement, 126
PERFORMANCE PERSPECTIVE: Jeanne Lamon, Violinist, Plays and Conducts Vivaldi’s Spring Concerto, 128
11. Johann Sebastian Bach, 130
Bach’s Music, 131
12. The Baroque Suite, 132
Suite No. 3 in D Major (1729–1731), by Johann Sebastian Bach, 133
13. The Chorale and Church Cantata, 134
The Church Cantata, 134
Cantata No. 140: Wachet auf, ruft uns die Stimme (Awake, a Voice Is Calling Us; 1731), by Johann Sebastian Bach, 135
VOCAL MUSIC GUIDE: Fourth Movement, 139
Seventh Movement: Chorale, 139
VOCAL MUSIC GUIDE: Seventh Movement, 140
14. The Oratorio, 140
15. George Frideric Handel, 141
Handel’s Music, 142
Messiah (1741), 142
Ev’ry Valley Shall Be Exalted, 143
VOCAL MUSIC GUIDE, 144
For unto Us a Child Is Born, 144
Hallelujah Chorus, 146
VOCAL MUSIC GUIDE, 146
Part IV. The Classical Period, 149
1. The Classical Style (1750–1820), 154
Characteristics of the Classical Style, 154
Contrast of Mood, 154
Rhythm, 155
Texture, 155
Melody, 155
Dynamics and the Piano, 155
The End of the Basso Continuo, 156
The Classical Orchestra, 156
Classical Forms, 156
2. Composer, Patron, and Public in the Classical Period, 157
Vienna, 159
3. Sonata Form, 160
Exposition, 161
Development, 161
Recapitulation, 161
Coda, 162
Symphony No. 40 in G Minor, K. 550, by Wolfgang Amadeus Mozart, 162
LISTENING OUTLINE: First Movement, 164
4. Theme and Variations, 165
Symphony No. 94 in G Major (Surprise; 1791), by Joseph Haydn, 166
LISTENING OUTLINE: Second Movement, 166
5. Minuet and Trio, 168
Eine kleine Nachtmusik (A Little Night Music; 1787), K. 525, by Wolfgang Amadeus Mozart, 169
LISTENING OUTLINE: Third Movement, 169
6. Rondo, 170
String Quartet in C Minor, Op. 18, No. 4 (1798–1800), by Ludwig van Beethoven, 170
LISTENING OUTLINE: Fourth Movement, 171
7. The Classical Symphony, 172
8. The Classical Concerto, 173
9. Classical Chamber Music, 174
10. Joseph Haydn, 174
Haydn’s Music, 176
Trumpet Concerto in E Flat Major (1796), 176
11. Wolfgang Amadeus Mozart, 177
Mozart’s Music, 179
Don Giovanni (1787), 179
VOCAL MUSIC GUIDE: Opening Scene, 181
Act I: Madamina (Leporello’s catalog aria), 184
Symphony No. 40 in G Minor, K. 550 (1788), 186
Piano Concerto No. 23 in A Major, K. 488 (1786), 188
LISTENING OUTLINE: First Movement, 189
PERFORMANCE PERSPECTIVE: Murray Perahia, Pianist, Playing and Conducting the First Movement of Mozart’s Piano Concerto in A Major, K. 488, 192
12. Ludwig van Beethoven, 193
Beethoven’s Music, 194
Piano Sonata in C Minor, Op. 13 (Pathétique; 1798), 195
Symphony No. 5 in C Minor, Op. 67 (1808), 197
LISTENING OUTLINES: First Movement, 199
LISTENING OUTLINES: Second Movement, 202
Part V. The Romantic Period, 207
1. Romanticism in Music (1820–1900), 213
Characteristics of Romantic Music, 213
Individuality of Style, 213
Expressive Aims and Subjects, 213
Nationalism and Exoticism, 214
Program Music, 214
Expressive Tone Color, 214
Colorful Harmony, 215
Expanded Range of Dynamics, Pitch, and Tempo, 216
Forms: Miniature and Monumental, 216
2. Romantic Composers and Their Public, 217
3. The Art Song, 219
Strophic and Through-Composed Form, 220
The Song Cycle, 220
4. Franz Schubert, 220
Schubert’s Music, 221
Erlkönig (The Erlking; 1815), 222
VOCAL MUSIC GUIDE, 223
5. Robert Schumann, 225
Robert Schumann’s Music, 226
Carnaval (Carnival; 1834–1835), 226
6. Clara Wieck Schumann, 228
Clara Wieck Schumann’s Music, 229
Liebst du um Schönheit (If you love for beauty; 1841), 229
VOCAL MUSIC GUIDE, 230
7. Frédéric Chopin, 231
Chopin’s Music, 232
Nocturne in E Flat Major, Op. 9, No. 2 (1830–1831), 232
LISTENING OUTLINE, 232
Étude in C Minor, Op. 10, No. 12 (Revolutionary; 1831?), 234
LISTENING OUTLINE, 234
Polonaise in A Flat Major, Op. 53 (1842), 235
8. Franz Liszt, 236
Liszt’s Music, 237
Transcendental Étude No. 10 in F Minor (1851), 238
9. Felix Mendelssohn, 239
Mendelssohn’s Music, 240
Concerto for Violin and Orchestra in E Minor, Op. 64 (1844), 240
LISTENING OUTLINE: First Movement, 241
PERFORMANCE PERSPECTIVE: Hilary Hahn, Violinist, Playing the First Movement of Mendelssohn’s Violin Concerto in E Minor, Op. 64, 244
10. Program Music, 245
11. Hector Berlioz, 246
Berlioz’s Music, 247
Symphonie fantastique (Fantastic Symphony; 1830), 248
LISTENING OUTLINE: Fourth Movement, 249
12. Nationalism in Nineteenth-Century Music, 252
The Moldau (1874), by Bedrrich Smetana, 254
LISTENING OUTLINE, 255
13. Antonin Dvorrák, 256
Symphony No. 9 in E Minor (From the New World; 1893), 257
LISTENING OUTLINE: First Movement, 258
14. Peter Ilyich Tchaikovsky, 260
Tchaikovsky’s Music, 260
Romeo and Juliet, Overture-Fantasy, 261
15. Johannes Brahms, 262
Brahms’s Music, 264
Symphony No. 3 in F Major, Op. 90, 264
LISTENING OUTLINE: Third Movement, 265
16. Giuseppe Verdi, 267
Verdi’s Music, 268
Rigoletto (1851), 269
17. Giacomo Puccini, 270
La Bohème (1896), 270
VOCAL MUSIC GUIDE: Act I, From Mimi’s entrance through Che gelida manina, 272
PERFORMANCE PERSPECTIVE: Luciano Pavarotti, Tenor, Singing the Part of Rodolfo in Puccini’s La Bohème, 277
18. Richard Wagner, 278
Wagner’s Music, 279
Die Walküre (The Valkyrie; 1856), 279
VOCAL MUSIC GUIDE: Act I, Love scene, Conclusion, 282
Part VI. The Twentieth Century and Beyond, 287
1. Musical Styles: 1900–C1945, 293
1900–C1945: An Age of Musical Diversity, 293
Characteristics of Twentieth-Century Music, 295
Tone Color, 295
Harmony, 296
Alternatives to the Traditional Tonal System, 298
Rhythm, 299
Melody, 301
2. Music and Musicians in Society, 301
3. Impressionism and Symbolism, 304
French Impressionist Painting, 304
French Symbolist Poetry, 305
4. Claude Debussy, 306
Debussy’s Music, 307
Prélude á L’Après-midi d’un Faune (Prelude to The Afternoon of a Faun; 1894), 308
LISTENING OUTLINE, 309
5. Neoclassicism, 310
6. Igor Stravinsky, 311
Stravinsky’s Music, 312
Le Sacre du printemps (The Rite of Spring, 1913), 313
LISTENING OUTLINE: Part I, Introduction, Omens of Spring—Dances of the Youths and Maidens, Ritual of Abduction, 316
7. Expressionism, 318
8. Arnold Schoenberg, 320
Schoenberg’s Music, 321
Atonality, 321
The Twelve-Tone System, 321
Pierrot lunaire, Op. 21 (Moonstruck Pierrot; 1912), 323
Mondestrunken (Moondrunk), 324
VOCAL MUSIC GUIDE, 324
A Survivor from Warsaw, Op. 46 (1947), 325
VOCAL MUSIC GUIDE, 326
9. Alban Berg, 328
Wozzeck (1917–1922), 328
10. Anton Webern, 332
Webern’s Music, 332
Five Pieces for Orchestra, Op. 10 (1911–1913), 333
LISTENING OUTLINE: Third Piece, 333
11. Béla Bartók, 334
Bartók’s Music, 334
Concerto for Orchestra (1943), 335
LISTENING OUTLINE: Second Movement, 336
12. Charles Ives, 337
Ives’s Music, 338
Putnam’s Camp, Redding, Connecticut (1912), from Three Places in New England (1908?–1914), 339
13. George Gershwin, 340
Rhapsody in Blue (1924), 341
14. William Grant Still, 342
Afro-American Symphony (1931), 343
LISTENING OUTLINE: Third Movement, 344
15. Aaron Copland, 345
Appalachian Spring (1943–1944), 347
LISTENING OUTLINE: Theme and Variations on Simple Gifts, 348
16. Musical Styles since 1945, 349
Characteristics of Music since 1945, 349
Increased Use of the Twelve-Tone System, 350
Extensions of the Twelve-Tone System: Serialism, 351
Chance Music, 352
Minimalist Music, 353
Musical Quotation, 354
Tonal Music and a Return to Tonality, 355
Electronic Music, 356
“Liberation of Sound”, 356
Mixed Media, 357
Rhythm and Form, 358
17. Music since 1945: Five Representative Pieces, 360
Sonatas and Interludes for Prepared Piano (1946–1948), by John Cage, 360
Poéme électronique (Electronic Poem; 1958), by Edgard Varése, 362
LISTENING OUTLINE: Opening Segment, 362
Fugata (1969) by Astor Piazzolla, 363
LISTENING OUTLINE, 364
Concerto Grosso 1985 (To Handel’s Sonata in D Major for Violin and Continuo, First Movement), by Ellen Taaffe Zwilich, 365
PERFORMANCE PERSPECTIVE: Yo-Yo Ma, Cellist, Playing Piazzolla’s Fugata, 366
LISTENING OUTLINE: First Movement (Concerto Grosso 1985), 368
Short Ride in a Fast Machine (1986), by John Adams, 368
LISTENING OUTLINE, 370
18. Jazz, 370
Jazz in Society, 371
Roots of Jazz, 371
Ragtime, 372
Blues, 372
Lost Your Head Blues (1926), by Bessie Smith, 374
VOCAL MUSIC GUIDE, 375
Elements of Jazz, 376
Tone Color, 376
PERFORMANCE PERSPECTIVE: Bessie Smith Singing Lost Your Head Blues, 377
Improvisation, 378
Rhythm, Melody, and Harmony, 378
Jazz Styles, 379
New Orleans Style, 379
Hotter Than That (1927), by Louis Armstrong and His Hot Five, 380
LISTENING OUTLINE, 380
Swing, 381
Bebop, 382
Bloomdido (1950), by Charlie Parker, 383
Cool Jazz, 383
Free Jazz, 384
Jazz Rock (Fusion), 384
Miles Runs the Voodoo Down (1969), by Miles Davis, 384
19. Music for Stage and Screen, 386
Musical Theater, 386
Elements of the Musical, 386
Development of the Musical, 386
Leonard Bernstein, 388
West Side Story (1957), 389
LISTENING OUTLINE: Tonight Ensemble, 390
Music in Film, 391
Early Film Music, 391
Functions and Styles of Film Music, 391
Creating Film Music, 392
Music and Image, 392
20. Rock, 393
Development of Rock, 393
PERFORMANCE PERSPECTIVE: Carlos Santana, 395
Elements of Rock, 398
Tone Color, 398
Rhythm, 399
Form, Melody, and Harmony, 400
Lucy in the Sky with Diamonds, from Sgt. Pepper’s Lonely Hearts Club Band (1967), by the Beatles, 400
Part VII. Nonwestern Music, 403
1. Music in Nonwestern Cultures, 405
Characteristics of Nonwestern Music, 405
Oral Tradition, 405
Improvisation, 405
Voices, 405
Instruments, 405
Melody, Rhythm, and Texture, 406
Interaction between Nonwestern and Western Music, 406
2. Music in Sub-Saharan Africa, 407
Music in Society, 407
Elements of African Music, 409
Rhythm and Percussion, 409
Vocal Music, 409
Texture, 409
African Instruments, 409
Idiophones, 409
Membranophones, 410
Aerophones and Chordophones, 410
Ompeh, 411
LISTENING OUTLINE, 411
3. Classical Music of India, 412
Performers, 412
Improvisation, 412
Elements of Indian Classical Music, 413
Melodic Structure: Raga, 413
Rhythmic Structure: Tala, 414
Instruments, 415
Maru-Bihag, by Ravi Shankar, 415
Glossary and Example Locator, G-1
Acknowledgments, A-1
Index, I-1

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