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| Listening Examples | |
| Online Listening Examples | |
| Preface | |
| Introduction | |
| Prelude: Basic Properties of Musical Sound | |
| The Elements of Music | |
| Rhythm | |
| Meter | |
| Melody | |
| Harmony | |
| Timbre | |
| Form | |
| Music Notation | |
| Elements of an American Sound | |
| How to Improve Your Listening Skills | |
| Trad.: "John Henry" | |
| Terms to Review | |
| Critical Thinking | |
| Music in Early North America | |
| The Early Years: Historical and Cultural Perspective | |
| The Beginnings of Music in America | |
| Native Americans | |
| European Emigrants | |
| Puritan Society | |
| The African Experience in Early America | |
| Revolution, in Classical Style | |
| Painting in Eighteenth-Century America | |
| North American Indian Music | |
| Songs | |
| Texture | |
| Texts | |
| Yeibichai Chant Song (excerpt) | |
| Sioux Grass Dance | |
| Sioux Grass Dance (excerpt) | |
| Sound Instruments | |
| Contemporary Indian Song | |
| Professional Musicians | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Early Folk Music | |
| Spanish Traditions | |
| Alabados | |
| Corridos | |
| Anonymous, "El corrido de Gregorio Cortez" | |
| British Traditions | |
| Folk Ballads | |
| Anonymous, "Barbara Allen" | |
| Early American Folk Music | |
| Anonymous, "Shenandoah" | |
| African Traditions | |
| Field Hollers | |
| Ring Shouts | |
| Field Holler | |
| Father's Field Call | |
| :Jesse Bradley, "Hammer, Ring" (excerpt) | |
| Freedom Songs | |
| Musical Instruments | |
| "No More Auction Block for Me" | |
| What of African Music Survives Today? | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Religious Music in the Colonial, Revolutionary, and Federal Periods | |
| Music at the Spanish Missions | |
| Psalm Tunes | |
| Psalters | |
| Louis Bourgeois, "Old Hundred" (excerpt) | |
| Other Protestant Music | |
| Joseph Brackett, Jr., "'Tis the Gift to Be Simple" | |
| German-Speaking Protestant Sects | |
| The Great Awakening | |
| Early Efforts at Musical Reform | |
| The Singing School Movement | |
| William Billings (1746-1800) | |
| William Billings, "Chester" | |
| Canons | |
| William Billings, "When Jesus Wept" | |
| Fuging Tunes | |
| Daniel Read, "Sherburne" | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Secular Music in the Colonial, Revolutionary, and Federal Periods | |
| Music in Everyday Experience | |
| Prestigious Musical Amateurs | |
| Early American Theater | |
| Early Bands | |
| Anonymous, "Yankee Doodle" (excerpt) | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| The Tumultuous Nineteenth Century | |
| Romanticism in America: Historical and Cultural Perspective | |
| The Emergence of Characteristically American Art | |
| Independence | |
| The Unknown | |
| Love of Nature | |
| Fusion of the Arts | |
| The Civil War Era | |
| Music | |
| Religious Music in the Early Nineteenth Century | |
| The Great Revival | |
| Shape-Note Notation | |
| Spiritual Songs | |
| "Amazing Grace" | |
| Black Spirituals | |
| James Macdermid. "There'll Be Joy, Joy, Joy" (excerpt) | |
| Listening Example 18: Anonymous, "Amazing Grace" | |
| Listening Example 19: Anonymous, "Nobody Knows the Trouble I've Seen" (excerpt) | |
| Spirituals As Concert Music | |
| Singing Conventions | |
| Further Movements to Reform Music | |
| Lowell Mason | |
| Lowell Mason, "Nearer, My God, to Thee" | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Popular Music of the Civil War Era | |
| Minstrelsy | |
| Daniel Decatur Emmett, "I Wish I Was in Dixie's Land" | |
| James A. Bland (1854-1911) | |
| The Heritage of Minstrelsy | |
| Stephen Foster (1826-1864) | |
| Stephen Foster, "I Dream of Jeanie with the Light Brown Hair" | |
| Stephen Foster, "Oh! Susanna" | |
| Patriotic Songs | |
| John Stafford Smith, "The Anacreontick Song" | |
| Civil War Songs | |
| Singing Families | |
| Anonymous, "Get Off the Track" | |
| Concert Bands | |
| Patrick Sarsfield Gilmore (1829-1892) | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Concert Music | |
| Orchestral Music | |
| Theodore Thomas (1835-1905) | |
| Romantic Virtuosos | |
| Louis Moreau Gottschalk (1829-1869) | |
| Piano Music | |
| Louis Moreau Gottschalk, "Le bananier" | |
| Rise of Nationalism in Music | |
| Second New England School | |
| John Knowles Paine (1839-1906) | |
| John Knowles Paine, Fuga giocosa, op. 41, no. 3 | |
| Amy Marcy Cheney Beach (1867-1944) | |
| Amy Marcy Cheney Beach, Symphony in E minor (Gaelic), 2nd movement | |
| Edward MacDowell (1860-1908) | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| The Growth of Vernacular Traditions | |
| Music in the Vernacular: Historical and Cultural Perspective | |
| Vernacular Art and Literature | |
| Vernacular Music | |
| The Rise of Popular Culture | |
| John Philip Sousa (1854-1932) | |
| Marches | |
| John Philip Sousa, "The Stars and Stripes Forever" | |
| Ragtime | |
| Scott Joplin (1868-1917) | |
| Scott Joplin, "Maple Leaf Rag" | |
| Influence of Ragtime | |
| Tin Pan Alley | |
| The Songs | |
| Barbershop Singing | |
| George M. Cohan, "Rose" ("A Ring to the Name of Rose") | |
| Irving 32. Irving Berlin, "Alexander's Ragtime Band" | |
| Jerome Kern (1885-1945) | |
| Cole Porter (1892-1964) | |
| Cole Porter, "Night and Day" | |
| George Gershwin (1898-1937) | |
| Decline of Tin Pan Alley | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| The Jazz Age | |
| Blues | |
| Rural or Country Blues | |
| Robert Johnson, "Hellhound on My Trail" | |
| Classic Blues | |
| Bessie Smith, "Lost Your Head Blues" | |
| Urban Blues | |
| W. C. Handy, St. Louis Blues | |
| New Orleans Jazz | |
| Louis Armstrong (1901-1971) | |
| Lillian Hardin Armstrong, "Hotter Than That" (excerpt) | |
| Chicago Jazz | |
| Jazz Piano | |
| Boogie-Woogie | |
| Stride Piano | |
| James P. Johnson, "Carolina Shout" | |
| Sweet Jazz | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Jazz 1930-1960 | |
| Big Band Swing | |
| Art of Arranging | |
| Count Basie, Lester Young, arr., "Taxi War Dance" (excerpt) | |
| Edward Kennedy "Duke" Ellington (1899-1974) | |
| Duke Ellington, Mood Indigo | |
| Women in Jazz | |
| Rise of Big Band Vocalists | |
| Billie Holiday (1915-1959) | |
| Bebop | |
| Charlie "Bird" Parker (1920-1955) | |
| John Birks "Dizzy" Gillespie (1917-1993) | |
| Charlie Parker, Dizzy Gillespie, "KoKo" | |
| Jazz As Concert Music | |
| Jazz Composition | |
| Duke Ellington, Concerto for Cootie | |
| Progressive Jazz | |
| Paul Desmond, "Take Five" (excerpt) | |
| Cool Jazz | |
| Miles Davis, "Boplicity" | |
| Hard Bop | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Country Music | |
| From Country to City | |
| Jimmie Rodgers (1897-1933) | |
| Jimmie Rodgers, Blue Yodel No. 9 | |
| The Carter Family | |
| Styles of Country Music | |
| American Folk Ballads | |
| Anonymous, "The Ballad of Casey Jones" | |
| Bluegrass | |
| Earl Scruggs, "Earl's Breakdown" | |
| Country Pop and the Nashville Sound | |
| Western Swing | |
| Honky-Tonk | |
| Cowboy Songs | |
| Hawaiian Music | |
| Danny Ku, "Mele of My Tutu E" | |
| Cajun Music | |
| Anonymous, Cajun Two-Step (excerpt) | |
| Zydeco | |
| Women in Country | |
| Recent Country | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Latin Popular Musics | |
| The Caribbean | |
| Santeria: The Way of the Saints | |
| Bomba | |
| Rumba | |
| Cu-bop | |
| Mambo | |
| Salsa | |
| Listening Example 50. Ruben Blades and Willie Colon, "Ojos" (Eyes) | |
| Brazil | |
| Samba and Bossa Nova | |
| Antonio Carlos Jobim, "Desafinado" ("Off Key") | |
| Mexico | |
| Tejano and Norteño Music | |
| Conjunto | |
| Mariachis | |
| Latin Music Today | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| Vernacular Musics Since Rock and Roll | |
| Vernacular Art | |
| Vernacular Music | |
| Rock and Roll | |
| The Generation Gap | |
| Rhythm and Blues | |
| Country Music Meets R&B | |
| Birth of Rock and Roll | |
| Bill Haley (1925-1981) | |
| Elvis Presley (1935-1977) | |
| Early Characteristics | |
| Chuck Berry, "School Days" | |
| End of the First Era | |
| Surfing Music | |
| Motown | |
| The Supremes, "Stop! In the Name of Love" | |
| The British Invasion | |
| Back to Black Rock | |
| Gospel | |
| Sister Rosetta Tharpe: "Down by the Riverside" | |
| Soul | |
| James Brown, "Papa's Got a Brand New Bag" | |
| Funk | |
| From Rock and Roll to Rock | |
| Psychedelic Rock | |
| Psychedelic Blues | |
| Heavy Metal | |
| A Future Unassured | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Rock Flirts with Country | |
| Urban Folk Music | |
| Woody Guthrie (1914-1967) | |
| The Urban Folk Revival | |
| Bob Dylan (1941- ) | |
| Folk Rock | |
| Bob Dylan, "Mr. Tambourine Man" | |
| Newport Folk Festival, 1965 | |
| Alternative Country | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Jazz Since 1960 | |
| Free Jazz | |
| John Coltrane, "A Love Supreme," Part I, "Acknowledgement" (excerpt) | |
| The 1970s | |
| Fusion (Jazz-Rock) | |
| Integration of Foreign Sounds | |
| The 1980s and Beyond | |
| Crossover Music | |
| Traditionalism | |
| The 1990s and Beyond | |
| Henry Threadgill (b. 1944) | |
| Anthony Braxton (b. 1945) | |
| Wynton Marsalis (b. 1961) | |
| Jazz Today and Tomorrow | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Popular Music since 1970 | |
| Singer-Songwriters | |
| Art Rock | |
| Disco | |
| Punk | |
| New Wave | |
| Grunge | |
| Electronic Dance Music | |
| Pop Music and Politics | |
| Looking Forward, Backward, and Abroad | |
| Hip-Hop and Rap | |
| Reggae | |
| The Rise of Hip-Hop | |
| Rap | |
| "Rapper's Delight" (excerpt) | |
| Social Concerns | |
| Back to the Roots | |
| Music Business | |
| Sharing Music | |
| Marketing Music | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| Music for Theater and Film | |
| Music and Theater: Historical and Cultural Perspective | |
| Musical Theater in America | |
| Broadway Musicals | |
| Operas | |
| Films | |
| Musical Theater | |
| Variety Shows | |
| Vaudeville | |
| Burlesque | |
| Revues | |
| Operetta | |
| Gilbert and Sullivan | |
| American Operettas | |
| Musical Comedies | |
| George M. Cohan (1878-1942) | |
| George M. Cohan, "Give My Regards to Broadway" (from Little Johnny Jones) | |
| Black Musical Theater | |
| Jerome Kern's Show Boat | |
| Jerome Kern, "Ol' Man River" (from Show Boat) | |
| Golden Age of Broadway Musicals (1930-1955) | |
| Rodgers and Hart | |
| Rodgers and Hammerstein | |
| Expansion of the Broadway Musical | |
| Lerner and Loewe | |
| Leonard Bernstein (1918-1990) | |
| Leonard Bernstein, "Tonight" (from Westside Story) | |
| Stephen Sondheim (b. 1930) | |
| Stephen Sondheim, "Every Day a Little Death" (from A Little Night Music) | |
| More Black Musicals | |
| The Music of Musicals | |
| Current Trends | |
| From Film to Broadway | |
| Effects Other than Music | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Music for Films | |
| Functions of Music in Film | |
| Source Versus Functional Music | |
| History of Music in Films | |
| Silent Films | |
| Early Sound Films | |
| The Hollywood Sound | |
| Bernard Herrmann (1911-1975) | |
| Bernard Herrmann, "The Murder" (from Psycho) | |
| John Williams (b. 1932) | |
| John Williams, Star Wars Main Title | |
| Pop Scores | |
| Electronic Music | |
| Movie Musicals Revived | |
| Current Trends | |
| The Composer's Perspective | |
| Techniques | |
| Film Score Performances and Recordings | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| American Opera | |
| Opera | |
| Solo and Ensemble Singing | |
| Opera in America | |
| Virgil Thomson (1896-1989) | |
| George Gershwin's Porgy and Bess | |
| George Gershwin, "Bess, You Is My Woman Now" (from Porgy and Bess) | |
| Gian-Carlo Menotti (1911-2007) | |
| The Trend toward Realism | |
| Philip Glass, "Spaceship" (from Einstein on the Beach) | |
| Opera or Musical: Which Is It? | |
| American Opera Today | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| Tradition and Innovation in Concert Music | |
| Music for the Concert Hall: Historical and Cultural Perspective | |
| Interaction between the Arts | |
| The Value of Chance | |
| American Concert Music | |
| Experimental Music: Revolution | |
| Charles Ives (1874-1954) | |
| Philosophy of Music | |
| Instrumental Compositions | |
| Charles Ives, "General Putnam's Camp" from Three Places in New England | |
| Songs | |
| Charles Ives, "At the River" | |
| Other Characteristics of Ives's Music | |
| Ives's Place in History | |
| Henry Cowell (1897-1965) | |
| Early Compositions | |
| Piano Experiments | |
| Henry Cowell, "The Banshee" (excerpt) | |
| Sources of Inspiration | |
| Writings | |
| Concrete Music | |
| John Cage (1912-1992) | |
| Gamelan Music | |
| Anonymous, Gamelan Gong Kebjar: "Hudjan Mas" (Golden Rain) (excerpt) | |
| Prepared Piano | |
| John Cage, Sonata V (from Sonatas and Interludes for Prepared Piano) | |
| Terms to Review | |
| Key Figures | |
| Online Listening Examples | |
| Critical Thinking | |
| Early Twentieth-Century Mainstream Concert Music: Evolution | |
| The Parisian Scene | |
| Aaron Copland (1900-1990) | |
| Depression and War Years | |
| Aaron Copland, Fanfare for the Common Man | |
| Music for Dance | |
| Aaron Copland, "Hoedown" (from Rodeo) | |
| Later Works | |
| Samuel Barber (1910-1981) | |
| Samuel Barber, Adagio for Strings | |
| Harlem Renaissance | |
| William Grand Still (1895-1978) | |
| William Grant Still, Afro-American Symphony, third movement ("Humor") | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| The Avant-Garde, Continued | |
| Rhythm and Timbre | |
| Harry Partch (1901-1974) | |
| Tape Music and the Electronic Synthesizer | |
| Milton Babbitt (b. 1916) | |
| Milton Babbitt, "Ensembles for Synthesizer" (excerpt) | |
| John Cage and Chance Music | |
| Silence | |
| Other Composers of Chance Music | |
| Notation | |
| Pauline Oliveros (b.1932) | |
| Pauline Oliveros, "Sound Patterns" | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| The Recent Mainstream | |
| The Elements of Music | |
| New Concepts of Form | |
| William Schuman (1910-1992) | |
| William Schuman, New England Triptych, third movement, "Chester" | |
| Minimalism | |
| Terry Riley (b. 1935) | |
| Philip Glass (b. 1937) | |
| Gwyneth Walker (b. 1947) | |
| Gwyneth Walker, "Maggie and Millie and Molly and May" (from Though Love Be a Day) | |
| A Promise of New Sounds | |
| Terms to Review | |
| Key Figures | |
| Critical Thinking | |
| Summary | |
| The Charge | |
| Glossary | |
| Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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