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America's Musical Landscape

by
Edition:
5th
ISBN13:

9780072989199

ISBN10:
007298919X
Format:
Paperback
Pub. Date:
10/3/2005
Publisher(s):
McGraw-Hill Humanities/Social Sciences/Languages
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Summary

This text addresses the broad range of music in the United States from early periods to today, presenting this rich tapestry of sound in its historical and cultural context. Its reasonable length, readability, and logical organization make the text a useful and attractive means of furthering appreciation of the musical heritage of the United States. Frequent connections to other arts, particularly the visual arts, add to the book's appeal and enhance understanding of core musical concepts. The text also offers an elegant and readable introduction to the fundamentals of music.To order the text packaged with a set of three CDs of recorded examples, at a discounted price, use ISBN 0-07-304387-7.

Table of Contents

Optional Listening Examples xiv
Preface xv
Chronology of Figures and Events xviii
Introduction xxvi
PRELUDE: Basic Properties of Musical Sound
1(15)
The Elements of Music
1(8)
Rhythm
2(1)
Meter
2(2)
Melody
4(2)
Harmony
6(3)
Timbre
9(1)
Form
9(1)
Music Notation
10(1)
Elements of an American Sound
10(1)
How to Improve Your Listening Skills
11(1)
Listening Example 1 George R. Poulton, ``Love Me Tender''
12(1)
Terms to Review
13(1)
Suggestions for Further Listening
14(1)
Critical Thinking
15(1)
PART 1 Music in Early North America
16(62)
The Early Years: Historical and Cultural Perspective
16(1)
The Beginnings of Music in America
17(4)
Native Americans
17(1)
European Emigrants
18(1)
Puritan Society
19(1)
The African Experience in Early America
20(1)
Revolution, in Classical Style
21(1)
Painting in Eighteenth-Century America
22(3)
North American Indian Music
25(9)
Songs
25(2)
Texts
26(1)
Listening Example 2 Yeibichai Chant Song (excerpt)
27(1)
Sioux Grass Dance
27(1)
Sound Instruments
27(1)
Listening Example 3 Sioux Grass Dance (excerpt)
28(2)
Contemporary Indian Song
30(1)
Professional Musicians
31(1)
Terms to Review
32(1)
Key Figures
32(1)
Suggestions for Further Listening
33(1)
Suggestions for Viewing
33(1)
Critical Thinking
33(1)
Folk Music
34(15)
Spanish Traditions
34(1)
Listening Example 4 Anonymous, El Cutilio (The Cotillion)
35(1)
Alabados
35(1)
British Traditions
36(1)
Folk Ballads
36(1)
Early American Folk Music
37(1)
Listening Example 5 Anonymous, ``Barbara Allen''
38(2)
African Traditions
40(1)
Listening Example 6 Anonymous, ``Shenandoah''
41(2)
Field Hollers
42(1)
Listening Example 7 Field Holler
43(1)
Listening Example 8 Father's Field Call
43(1)
Ring Shouts
43(1)
Listening Example 9 Complaint Call
44(1)
Work Songs
44(1)
Listening Example 10 Anonymous, ``Hammer, Ring'' (excerpt)
45(2)
Musical Instruments
46(1)
What of African Music Survives Today?
46(1)
Terms to Review
47(1)
Suggestions for Further Listening
48(1)
Critical Thinking
48(1)
Religious Music in the Colonial, Revolutionary, and Federal Periods
49(17)
Music at the Spanish Missions
49(1)
Psalm Tunes
50(1)
Psalters
50(1)
Listening Example 11 Louis Bourgeois, ``Old Hundred'' (excerpt)
51(3)
Other Protestant Music
54(2)
German-Speaking Protestant Sects
54(2)
Listening Example 12 John Antes, ``Surely He Has Borne Our Griefs''
56(1)
The Great Awakening
56(1)
Early Efforts at Musical Reform
57(3)
The Singing School Movement
57(1)
William Billings (1746--1800)
58(2)
Listening Example 13 William Billings, ``Chester''
60(2)
Canons
61(1)
Fuging Tunes
61(1)
Listening Example 14 William Billings, ``When Jesus Wept''
62(1)
Listening Example 15 Daniel Read, ``Sherburne''
63(1)
Terms to Review
64(1)
Key Figures
65(1)
Optional Listening Example
65(1)
Suggestions for Further Listening
65(1)
Critical Thinking
65(1)
Secular Music in the Colonial, Revolutionary, and Federal Periods
66(12)
Music in Everyday Experience
66(5)
Prestigious Musical Amateurs
68(3)
Professional Composers
71(1)
Early American Theater
71(1)
Listening Example 16 Alexander Reinagle, Sonata II in E, third movement (from The Philadelphia Sonatas)
72(2)
Early Bands
74(1)
Listening Example 17 Anonymous, ``Yankee Doodle'' (excerpt)
75(1)
Terms to Review
76(1)
Key Figures
76(1)
Optional Listening Example
76(1)
Suggestions for Further Listening
76(1)
Critical Thinking
76(1)
Part 1 Summary
77(1)
PART 2 The Tumultuous Nineteenth Century
78(64)
Romanticism in America: Historical and Cultural Perspective
78(1)
The Emergence of Characteristically American Art
79(2)
Fusion of the Arts
81(3)
The Civil War Era
84(1)
Music
85(1)
Religious Music in the Early Nineteenth Century
86(11)
The Great Revival
86(1)
Shape-Note Notation
86(2)
Spiritual Songs
88(1)
``Amazing Grace''
88(1)
Black Spirituals
88(1)
Listening Example 18 Carter Family, ``There'll Be Joy, Joy, Joy'' (excerpt)
89(1)
Listening Example 19 Anonymous, ``Amazing Grace''
90(1)
Listening Example 20 Anonymous, ``Nobody Knows the Trouble I've Seen'' (excerpt)
91(1)
Spirituals as Concert Music
92(1)
Singing Conventions
92(1)
Further Movements to Reform Music
92(1)
Lowell Mason (1792--1872)
93(1)
Listening Example 21 Lowell Mason, ``Nearer, My God, to Thee''
94(1)
Terms to Review
95(1)
Key Figures
96(1)
Suggestions for Further Listening
96(1)
Suggestion for Viewing
96(1)
Critical Thinking
96(1)
Popular Music of the Civil War Era
97(20)
Minstrelsy
97(3)
James A. Bland (1854--1911)
100(1)
Listening Example 22 Daniel Decatur Emmett, ``I Wish I Was in Dixie's Land''
101(1)
The Heritage of Minstrelsy
102(1)
Stephen Foster (1826--1864)
102(2)
Listening Example 23 Stephen Foster, ``I Dream of Jeanie with the Light Brown Hair''
104(1)
Listening Example 24 Stephen Foster, ``Oh! Susanna''
105(1)
Patriotic Songs
106(2)
Civil War Songs
108(1)
Singing Families
109(1)
Concert Bands
110(2)
Patrick Sarsfield Gilmore (1829--1892)
111(1)
John Philip Sousa (1854--1932)
112(2)
Marches
113(1)
Listening Example 25 John Philip Sousa, ``The Stars and Stripes Forever''
114(1)
Terms to Review
115(1)
Key Figures
115(1)
Suggestions for Further Listening
115(1)
Suggestion for Viewing
116(1)
Critical Thinking
116(1)
Early Concert Music
117(12)
Rise of Nationalism in Music
117(2)
Anthony Philip Heinrich (1781--1861)
118(1)
Romantic Virtuosos
119(2)
The Swedish Nightingale
119(1)
Ole Bull
120(1)
Louis Moreau Gottschalk (1829--1869)
121(2)
Piano Music
122(1)
Orchestral Music
123(1)
Listening Example 26 Louis Moreau Gottschalk, ``Le bananier''
124(2)
William Henry Fry (1813--1864)
125(1)
Theodore Thomas (1835--1905)
126(2)
Terms to Review
128(1)
Key Figures
128(1)
Optional Listening Examples
128(1)
Suggestions for Further Listening
128(1)
Critical Thinking
128(1)
American Concert Music Comes of Age: The Late Nineteenth Century
129(13)
The Second New England School
130(2)
John Knowles Paine (1839--1906)
131(1)
Fugue
131(1)
Listening Example 27 John Knowles Paine, Fuga Giocosa, Op. 41, No. 3
132(2)
Other Members of the School
133(1)
Amy Marcy Cheney Beach (1867--1944)
133(1)
Edward MacDowell (1860--1908)
134(1)
Listening Example 28 Amy Marcy Cheney Beach, Symphony in E minor (``Gaelic''), second movement
135(2)
Arthur Farwell and the Wa-Wan Press
137(1)
Terms to Review
138(1)
Key Figures
138(1)
Optional Listening Examples
138(1)
Suggestions for Further Listening
139(1)
Critical Thinking
139(1)
Part 2 Summary
140(2)
PART 3 The Growth of Vernacular Traditions
142(110)
Music in the Vernacular: Historical and Cultural Perspective
143(2)
Vernacular Art and Literature
143(1)
Vernacular Music
144(1)
The Rise of Popular Culture
145(18)
Ragtime
145(3)
Scott Joplin (1868--1917)
147(1)
Listening Example 29 Scott Joplin, ``Maple Leaf Rag''
148(1)
Influence of Ragtime
148(1)
Tin Pan Alley
149(3)
The Songs
150(1)
Barbershop Singing
151(1)
Listening Example 30 George M. Cohan, ``Rose'' (``A Ring to the Name of Rose'')
152(2)
Irving Berlin (1888--1989)
154(1)
Listening Example 31 Irving Berlin, ``Alexander's Ragtime Band''
154(5)
Jerome Kern (1885--1945)
157(1)
Cole Porter (1892--1964)
157(1)
George Gershwin (1898--1937)
158(1)
Listening Example 32 Cole Porter, ``Night and Day''
159(2)
Decline of Tin Pan Alley
160(1)
Terms to Review
161(1)
Key Figures
161(1)
Suggestions for Further Listening
162(1)
Suggestion for Viewing
162(1)
Critical Thinking
162(1)
Country Music
163(21)
From Country to City
163(4)
Jimmie Rodgers (1897--1933)
165(1)
The Carter Family
166(1)
Listening Example 33 Jimmie Rodgers, Blue Yodel No. 9
167(1)
Listening Example 34 The Carter Family, ``Chinese Breakdown''
168(1)
Styles of Country Music
169(2)
American Folk Ballads
169(1)
Bluegrass
170(1)
Listening Example 35 Anonymous, ``The Ballad of Casey Jones''
171(1)
Listening Example 36 Earl Scruggs, ``Earl's Breakdown''
172(4)
Country Pop and the Nashville Sound
174(2)
Country Goes Western
176(1)
Western Swing
176(1)
Listening Example 37 Bob Wills, ``New San Antonio Rose''
177(2)
Honky-Tonk
178(1)
Cowboy Songs
179(1)
Women in Country
179(1)
Recent Country
180(1)
Terms to Review
181(1)
Key Figures
182(1)
Optional Listening Examples
182(1)
Suggestions for Further Listening
182(1)
Suggestion for Viewing
182(1)
Suggestion for Reading
182(1)
Critical Thinking
183(1)
Ethnic Traditions and the Urban Folk Revival
184(11)
Hawaiian Music
184(1)
Cajun Music
185(1)
Listening Example 38 Anonymous, Cajun Two-Step (excerpt)
186(1)
Zydeco
187(1)
Urban Folk Music
187(2)
Woody Guthrie (1914--1967)
188(1)
Listening Example 39 Anonymous, ``Tu le ton son ton''
189(4)
The Movement Evolves
190(1)
Bob Dylan (b. 1941)
191(2)
A New Romance
193(1)
Terms to Review
194(1)
Key Figures
194(1)
Suggestions for Further Listening
194(1)
Suggestion for Viewing
194(1)
Critical Thinking
194(1)
The Jazz Age
195(18)
Blues
196(3)
Country or Rural Blues
196(2)
Classic Blues
198(1)
Listening Example 40 Robert Johnson, ``Hellhound on My Trail''
199(2)
Listening Example 41 Bessie Smith, ``Lost Your Head Blues''
201(2)
Urban Blues
202(1)
New Orleans Jazz
203(1)
Listening Example 42 W. C. Handy, ``St. Louis Blues''
204(2)
Louis Armstrong (1900--1971)
206(1)
Chicago Jazz
206(1)
Listening Example 43 Lillian Hardin Armstrong, ``Hotter Than That'' (excerpt)
207(1)
Jazz Piano
208(1)
Boogie-Woogie
208(1)
Listening Example 44 Albert Ammons, ``Shout for Joy''
209(1)
Stride Piano
209(1)
Listening Example 45 James P. Johnson, ``Carolina Shout''
210(1)
Sweet Jazz
211(1)
Terms to Review
211(1)
Key Figures
212(1)
Optional Listening Examples
212(1)
Suggestions for Further Listening
212(1)
Suggestion for Viewing
212(1)
Critical Thinking
212(1)
Jazz 1930--1960
213(20)
Big Band Swing
213(2)
Art of Arranging
214(1)
Listening Example 46 Count Basie, Lester Young, ``Taxi War Dance'' (excerpt)
215(4)
Edward Kennedy ``Duke'' Ellington (1899--1974)
217(2)
Listening Example 47 Duke Ellington, ``Mood Indigo''
219(1)
Women in Jazz
219(1)
Reactions against Big Band Music
220(1)
Billie Holiday (1915--1959)
221(1)
Bebop
221(3)
Charlie ``Bird'' Parker (1920--1955)
222(1)
John Birks ``Dizzy'' Gillespie (1917--1993)
223(1)
Listening Example 48 Charlie Parker, Dizzy Gillespie, ``KoKo''
224(1)
Jazz as Concert Music
225(1)
Jazz Composition
225(1)
Progressive Jazz
226(1)
Listening Example 49 Duke Ellington, ``Concerto for Cootie''
227(1)
Listening Example 50 Paul Desmond, ``Take Five'' (excerpt)
228(1)
Cool Jazz
228(1)
Hard Bop
229(1)
Listening Example 51 Miles Davis, ``Boplicity''
230(1)
Terms to Review
230(1)
Key Figures
231(1)
Optional Listening Example
231(1)
Suggestions for Further Listening
231(1)
Suggestions for Viewing
231(1)
Critical Thinking
232(1)
Jazz since 1960
233(19)
Charles Mingue (1922--1979)
233(1)
Free Jazz
234(2)
Third Stream
236(1)
Listening Example 52 John Coltrane, A Love Supreme, Part I, ``Acknowledgment'' (excerpt)
237(1)
The 1970s
238(3)
Fusion (Jazz-Rock)
239(1)
Integration of Foreign Sounds
240(1)
Listening Example 53 Chick Corea, Stretch It, Part I
241(1)
The 1980s
242(1)
Crossover Music
242(1)
Traditionalism
243(1)
The 1990s and Beyond
243(3)
Henry Threadgill (b. 1944)
244(1)
Anthony Braxton (b. 1945)
244(1)
Anthony Davis (b. 1951)
245(1)
Wynton Marsalis (b. 1961)
245(1)
Jazz Today and Tomorrow
246(1)
Terms to Review
247(1)
Key Figures
248(1)
Optional Listening Example
248(1)
Suggestions for Further Listening
248(1)
Critical Thinking
248(1)
Part 3 Summary
249(3)
PART 4 A Diversity of Popular Musics
252(54)
Vernacular Art
253(1)
Vernacular Music
253(1)
Latin Popular Musics
254(16)
The Caribbean
255(1)
Santeria: The Way of the Saints
256(3)
Bomba
256(1)
Rumba
256(1)
Cu-Bop
257(1)
Mambo
257(1)
Salsa
258(1)
Reggae
258(1)
Listening Example 54 Ruben Blades, Willie Colon, ``Ojos'' (``Eyes,'' 1978)
259(2)
Calypso
260(1)
Brazil
261(1)
Samba and Bossa Nova
261(1)
Listening Example 55 Antonio Carlos Jobim, ``Desafinado'' (``Off Key'')
262(1)
Mexico
263(3)
Tejano and Norteno Music
264(1)
Corridos
265(1)
Conjunto
265(1)
Mariachis
266(1)
Latin Music Today
266(1)
Listening Example 56 Anonymous, ``Jarabe Tapatio''
267(1)
Terms to Review
268(1)
Key Figures
268(1)
Suggestions for Further Listening
269(1)
Suggestions for Viewing
269(1)
Critical Thinking
269(1)
Rock and Roll
270(20)
The Generation Gap
270(1)
Gospel
271(1)
Rhythm and Blues
271(2)
Country Music Meets R&B
272(1)
Birth of Rock and Roll
273(2)
Bill Haley (1925--1981)
273(1)
Elvis Presley (1935--1977)
273(1)
Early Characteristics
274(1)
End of the First Era
275(1)
Listening Example 57 Chuck Berry, ``School Day''
276(1)
Surfing Music
276(1)
Motown
277(1)
The British Invasion
278(1)
Listening Example 58 The Supremes, ``Stop! In the Name of Love''
279(1)
Back to Black Rock
280(2)
Soul
280(1)
Funk
281(1)
Listening Example 59 James Brown, ``Papa's Got a Brand New Bag''
282(1)
From Rock and Roll to Rock
283(2)
Folk Rock
283(1)
Acid Rock
284(1)
Listening Example 60 Bob Dylan, ``Mr. Tambourine Man''
285(3)
Psychedelic Blues
286(1)
Heavy Metal
287(1)
A Future Unassured
288(1)
Terms to Review
288(1)
Key Figures
288(1)
Suggestions for Further Listening
289(1)
Suggestion for Viewing
289(1)
Suggestion for Reading
289(1)
Critical Thinking
289(1)
Popular Music since 1970
290(16)
Singer-Songwriters
290(1)
Art Rock
291(1)
Disco
292(2)
Punk
294(2)
Grunge
296(1)
New Wave
296(1)
Electronic Dance Music
296(1)
Hip-Hop and Rap
297(2)
Social Concerns
298(1)
Back to the Roots
299(1)
Contemporary Black Gospel
299(1)
The Future Is Here
300(2)
Music Business
301(1)
Terms to Review
302(1)
Key Figures
302(1)
Suggestions for Listening
302(1)
Critical Thinking
302(2)
Part 4 Summary
304(2)
PART 5 Music for Theater and Film
306(58)
Music and Theater: Historical and Cultural Perspective
306(3)
Musical Theater in America
306(1)
Broadway Musicals
307(1)
Opera
308(1)
Films
308(1)
Musical Theater
309(25)
Variety Shows
309(3)
Vaudeville
309(2)
Burlesque
311(1)
Revues
311(1)
Listening Example 61 Jack Norworth and Nora Bayes, ``Shine On, Harvest Moon''
312(1)
Operetta
313(2)
Gilbert and Sullivan
313(1)
American Operettas
313(2)
Musical Comedies
315(1)
George M. Cohan (1878--1942)
315(1)
Listening Example 62 George M. Cohan, ``Give My Regards to Broadway'' (from Little Johnny Jones)
316(1)
Black Musical Theater
317(1)
Jerome Kern's Show Boat
318(1)
Golden Age of Broadway Musicals (1930--1955)
318(1)
Listening Example 63 Jerome Kern, ``Ol' Man River'' (from Show Boat)
319(3)
Rodgers and Hart
321(1)
Rodgers and Hammerstein
321(1)
Expansion of the Broadway Musical
322(3)
Lerner and Loewe
323(1)
Leonard Bernstein (1918--1990)
323(1)
Stephen Sondheim (b. 1930)
324(1)
Listening Example 64 Leonard Bernstein, ``Tonight'' (finale from Act I of West Side Story)
325(1)
Listening Example 65 Stephen Sondheim, ``Every Day a Little Death'' (from A Little Night Music)
326(1)
More Black Musicals
327(1)
The Music of Musicals
327(2)
Current Trends
329(3)
From Film to Broadway
330(1)
Effects Other than Music
330(2)
Terms to Review
332(1)
Key Figures
332(1)
Suggestions for Further Listening
332(1)
Suggestions for Viewing
332(1)
Critical Thinking
333(1)
Music for Films
334(15)
Functions of Music in Film
334(1)
Source versus Functional Music
335(1)
History of Music in Films
335(4)
Silent Films
335(1)
Early Sound Films
336(1)
The Hollywood Sound
337(2)
Listening Example 66 John Williams, Star Wars Main Title
339(3)
Pop Scores
340(1)
Electronic Music
341(1)
Movie Musicals Revived
342(1)
Current Trends
342(2)
The Composer's Perspective
344(2)
Techniques
345(1)
Film Score Performances and Recordings
346(1)
Terms to Review
347(1)
Key Figures
347(1)
Suggestions for Further Listening
348(1)
Critical Thinking
348(1)
American Opera
349(15)
Opera
350(1)
Solo and Ensemble Singing
350(1)
Opera in America
351(3)
Virgil Thomson (1896--1989)
351(1)
George Gershwin's Porgy and Bess
352(1)
Gian-Carlo Menotti (b. 1911)
353(1)
Listening Example 67 George Gershwin, ``Bess, You Is My Woman Now'' (from Porgy and Bess)
354(1)
The Trend toward Realism
355(2)
Listening Example 68 Philip Glass and Robert Wilson, Einstein on the Beach: Act IV, Scene 3, ``Spaceship''
357(1)
Opera or Musical: Which Is It?
358(1)
American Opera Today
359(1)
Terms to Review
359(1)
Key Figures
360(1)
Optional Listening Examples
360(1)
Suggestions for Further Listening
360(1)
Critical Thinking
360(1)
Part 5 Summary
361(3)
PART 6 Tradition and Innovation in Concert Music
364
Music for the Concert Hall: Historical and Cultural Perspective
364(4)
Interaction between the Arts
365(1)
The Value of Chance
366(2)
American Concert Music
368(1)
Experimental Music: Revolution
369(16)
Charles Ives (1874--1954)
369(2)
Philosophy of Music
370(1)
Instrumental Compositions
370(1)
Songs
370(1)
Listening Example 69 Charles Ives, ``General Putnam's Camp'' (from Three Places in New England)
371(1)
Listening Example 70 Charles Ives, ``At the River''
372(1)
Other Characteristics of Ives's Music
372(1)
Ives's Place in History
373(1)
Henry Cowell (1897--1965)
373(2)
Early Compositions
373(1)
Piano Experiments
374(1)
Listening Example 71 Henry Cowell, ``The Banshee'' (excerpt)
375(3)
Sources of Inspiration
375(2)
Writings
377(1)
Concrete Music
378(1)
John Cage (1912--1992)
378(2)
Gamelan Music
379(1)
Prepared Piano
379(1)
Listening Example 72 Kebjar Hudjan Mas (excerpt)
380(2)
Listening Example 73 John Cage, The Perilous Night (excerpt)
382(2)
Terms to Review
384(1)
Key Figures
384(1)
Optional Listening Examples
384(1)
Suggestions for Further Listening
384(1)
Critical Thinking
384(1)
Early Twentieth-Century Mainstream Concert Music: Evolution
385(12)
The Parisian Scene
385(1)
Aaron Copland (1900--1990)
386(2)
Depression and War Years
387(1)
Listening Example 74 Aaron Copland, Fanfare for the Common Man
388(2)
Music for Dance
389(1)
Listening Example 75 Aaron Copland, ``Hoedown'' (from Rodeo)
390(1)
Later Works
390(1)
Samuel Barber (1910--1981)
391(1)
Listening Example 76 Samuel Barber, Adagio for Strings
392(1)
Harlem Renaissance
393(1)
William Grant Still (1895--1978)
394(1)
Listening Example 77 William Grant Still, Afro-American Symphony, third movement
394(1)
Terms to Review
395(1)
Key Figures
395(1)
Optional Listening Examples
395(1)
Suggestions for Further Listening
396(1)
Critical Thinking
396(1)
The Avant-Garde, Continued
397(12)
Rhythm and Timbre
397(1)
Harry Partch (1901--1974)
397(1)
Tape Music and the Electronic Synthesizer
398(2)
Milton Babbitt (b. 1916)
400(1)
Listening Example 78 Milton Babbitt, ``Ensembles for Synthesizer'' (excerpt)
401(1)
John Cage and Chance Music
402(1)
Silence
403(1)
Other Composers of Chance Music
403(2)
Notation
405(1)
Pauline Oliveros (b. 1932)
406(1)
Listening Example 79 Pauline Oliveros, Sound Patterns
407(1)
Terms to Review
407(1)
Key Figures
408(1)
Optional Listening Example
408(1)
Suggestions for Further Listening
408(1)
Critical Thinking
408(1)
The Recent Mainstream
409
The Elements of Music
409(1)
New Concepts of Form
410(1)
William Schuman (1910--1992)
410(1)
Lou Harrison (1917--2003)
410(1)
Listening Example 80 William Schuman, New England Triptych, third movement, ``Chester''
411(1)
Minimalism
412(2)
Terry Riley (b. 1935)
412(1)
Philip Glass (b. 1937)
413(1)
Women in Music
414(2)
Listening Example 81 Gwyneth Walker, ``Maggie and Millie and Molly and May'' (from the song cycle Though Love Be a Day)
416(1)
A Promise of New Sounds
417(1)
Terms to Review
418(1)
Key Figures
418(1)
Optional Listening Example
418(1)
Suggestions for Further Listening
418(1)
Critical Thinking
418(1)
Part 6 Summary
419(2)
The Charge
421
Glossary
Credits 1(1)
Index 1


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