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Norton Anthology of Western Music Vol. 1 : Ancient to Baroque,9780393979909

Norton Anthology of Western Music Vol. 1 : Ancient to Baroque

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Edition:
5th
ISBN13:

9780393979909

ISBN10:
0393979903
Format:
Paperback
Pub. Date:
7/15/2005
Publisher(s):
W W Norton & Co Inc
List Price: $61.80

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Summary

The ideal companion toA History of Western Music, Seventh Edition, the two-volumeNorton Anthology of Western Music, Fifth Edition, includes 172 historically significant scores, 71 of them new to this edition, with a strengthened emphasis on twentieth-century music. Revised and enlivened commentaries closely examine the scores to clarify their historical significance, and professional recordings of all works in the anthology are included on CDs, many in dynamic new performances.

Table of Contents

Making Connections: How to Use This Anthology xi
Acknowledgments xix
Recordings xxi
The Ancient and Medieval Worlds
Music in Antiquity
Epitaph of Seikilos, song (epigram)
1(3)
Euripides: Orestes, Greek tragedy, excerpt: Stasimon chorus
4(3)
Roman Liturgy and Chant
Mass for Christmas Day, Gregorian chant Mass
7(19)
Introit: Puer natus est nobis
8(3)
Kyrie
11(1)
Gloria
12(2)
Gradual: Viderunt omnes
14(2)
Alleluia: Dies sanctificatus
16(1)
Credo
17(3)
Offertory: Tui sunt caeli
20(2)
Sanctus
22(1)
Agnus Dei
23(1)
Communion: Viderunt omnes
24(1)
Ite, missa est
25(1)
Chants from Vespers for Christmas Day, Gregorian chant Office
First Antiphon: Tecum principium, with psalm Dixit Dominus
26(1)
Hymn: Christe Redemptor omnium
27(3)
Ascribed to Wipo of Burgundy: Victimae paschali laudes, sequence
30(2)
Tropes on Puer natus: Quem queritis in presepe and Melisma
32(4)
Hildegard of Bingen: Ordo virtutum, sacred music drama: Chorus, In principio omnes
36(3)
Song and Dance Music in the Middle Ages
Bernart de Ventadorn: Can vei la lauzeta mover, canso (troubadour song)
39(4)
Comtessa de Dia: A chantar, canso (troubadour song)
43(3)
Adam de la Halle: Jeu de Robin et de Marion: Rondeau, Robins m'aime
46(2)
Walther von der Vogelweide: Palastinalied (Nu alrest lebe ich mir werde), Minnelied
48(3)
Cantiga 159: Non sofre Santa Maria, from Cantigas de Santa Maria
51(4)
La quarte estampie royal, from Le manuscrit du roi
55(3)
Polyphony through the Thirteenth Century
Organa from Musica enchiriadis
Tu patris sempiternus es filius
58(1)
Sit gloria domini
58(1)
Rex caeli domine
59(2)
Alleluia Justus ut palma, free organum, from Ad organum faciendum
61(2)
Jubilemus, exultemus, versus in Aquitanian polyphony
63(4)
Leonin: Viderunt omnes, organum duplum
67(9)
Clausulae on Dominus from Viderunt omnes
Dominus, clausula No. 26
76(1)
Dominus, clausula No. 29
77(2)
Perotin: Viderunt omnes, organum quadruplum
79(16)
Ave virgo virginum, conductus
95(3)
Motets on Tenor Dominus
Factum est salutare/Dominus
98(2)
Fole acostumance/Dominus
100(4)
Super te/Sed fulsit/Primus tenor/Dominus
104(5)
Adam de la Halle: De ma dame vient/Dieus, comment porroie/Omnes, motet
109(7)
Sumer is icumen in, rota
116(5)
French and Italian Music in the Fourteenth Century
Philippe de Vitry: In arboris/Tuba sacre fidei/Virgo sum, motet
121(6)
Guillaume de Machaut: La Messe de Nostre Dame, mass: Kyrie
127(6)
Guillaume de Machaut: Rose, liz, printemps, verdure, rondeau
133(4)
Johannes Ciconia: Sus une fontayne, virelai
137(7)
Jacopo da Bologna: Fenice fu, madrigal
144(2)
Gherardello da Firenze: Tosto che l'alba, caccia
146(6)
Francesco Landini: Non avra ma' pieta, ballata
152(4)
The Renaissance
England and Burgundy in the Fifteenth Century
Alleluia, A newe work, carol
156(3)
John Dunstable: Quam pulchra es, motet or cantilena
159(4)
Binchois (Gilles de Bins): De plus en plus, rondeau
163(3)
Guillaume Du Fay: Resvellies vous, ballade
166(4)
Guillaume Du Fay: Conditor alme siderum, hymn in fauxbourdon style
170(3)
Guillaume Du Fay: Se la face ay pale
Se la face ay pale, ballade
173(1)
Missa Se la face ay pale, cantus-firmus mass: Gloria
174(13)
Franco-Flemish Composers, 1450-1520
Jean de Ockeghem: Missa De plus en plus, mass: Agnus Dei
187(7)
Henricus Isaac: Innsbruck, ich muss dich lassen, Lied
194(4)
Josquin des Prez: Ave Maria . . . virgo serena, motet
198(9)
Josquin des Prez: Missa Pange lingua, mass
Kyrie
207(4)
Credo, excerpt: Et incarnatus est and Crucifixus
211(6)
Josquin des Prez (?): Mille regretz, chanson
217(4)
Sacred Music in the Era of the Reformation
Martin Luther: Nun komm, der Heiden Heiland and Ein' feste Burg, chorales
Attributed to St. Ambrose: Veni redemptor gentium, hymn
221(1)
Martin Luther: Nun komm, der Heiden Heiland
222(1)
Martin Luther: Ein' feste Burg
223(2)
Johann Walter: Ein' feste Burg, setting for four voices
225(3)
Loys Bourgeois: Psalm 134, Or sus, serviteurs du Seigneur, metrical psalm
Psalm 134, Or sus, serviteurs du Seigneur
228(1)
William Kethe: Psalm 100, All people that on earth do dwell
229(2)
William Byrd: Sing joyfully unto God, full anthem
231(11)
Giovanni Pierluigi da Palestrina: Pope Marcellus Mass
Credo
242(11)
Agnus Dei I
253(6)
Tomas Luis de Victoria: O magnum mysterium
O magnum mysterium, motet
259(4)
Missa O magnum mysterium, mass: Kyrie
263(4)
Orlando di Lasso: Tristis est anima mea, motet
267(6)
Madrigal and Secular Song in the Sixteenth Century
Juan del Encina: Oy comamos y bebamos, villancico
273(3)
Marco Cara: Io non compro piu speranza, frottola
276(3)
Jacques Arcadelt: Il bianco e dolce cigno, madrigal
279(4)
Cipriano de Rore: Da le belle contrade d'oriente, madrigal
283(6)
Luca Marenzio: Solo e pensoso, madrigal
289(13)
Carlo Gesualdo: ``Io parto'' e non piu dissi, madrigal
302(6)
Claudin de Sermisy: Tant que vivray, chanson
308(4)
Claude le Jeune: Revecy venir du printans, chanson
312(8)
Thomas Morley: My bonny lass she smileth, ballett
320(4)
Thomas Weelkes: As Vesta was, madrigal
324(15)
John Dowland: Flow, my tears, air or lute song
339(5)
The Rise of Instrumental Music
Pierre Attaingnant (publisher): Dances from Danseries a 4 parties, second livre
No. 1: Basse danse
344(1)
No. 36: Branle gay, Que je chatoulle ta fossette
345(4)
Luis de Narvaez: From Los seys libros del Delphin, intabulation and variations for vihuela
Cancion Mille regres, intabulation of Josquin's Mille regretz
349(2)
Cuatro diferencias sobre ``Guardame las vacas,'' variations
351(4)
William Byrd: Pavana Lachrymae, pavane variations
355(6)
Giovanni Gabrieli: Canzon septimi toni a 8, from Sacrae symphoniae, ensemble canzona
361(13)
The Seventeenth Century
New Styles in the Seventeenth Century
Claudio Monteverdi: Cruda Amarilli, madrigal
374(6)
Giulio Caccini: Vedro I mio sol, solo madrigal
380(6)
The Invention of Opera
Jacopo Peri: Le musiche sopra l'Euridice, opera: Excerpts
Prologue: lo, che d'alti sospir, strophic aria
386(1)
Aria: Nel pur ardor
387(2)
Dialogue in recitative: Per quel vago boschetto
389(8)
Claudio Monteverdi: L'Orfeo, opera: Excerpt from Act II
Aria/canzonetta: Vi ricorda o boschi ombrosi
397(8)
Recitative: Mira, deh mira Orfeo
405(1)
Dialogue in recitative: Ahi, caso acerbo
406(6)
Recitative: Tu se' morta
412(2)
Choral madrigal: Ahi, caso acerbo
414(7)
Claudio Monteverdi: L'incoronazione di Poppea, opera: Act I, Scene 3
421(13)
Antonio Cesti: Orontea, opera: Excerpt from Act II
Scene 16: E che si fa?
434(1)
Scene 17, opening aria: Intorno all' idol mio
435(7)
Music for Chamber and Church in the Early Seventeenth Century
Barbara Strozzi: Lagrime mie, cantata
442(10)
Alessandro Grandi: o quam tu pulchra es, solo motet (solo concerto)
452(5)
Giacomo Carissimi: Historia de Jephte, oratorio: Excerpt
Recitative: Plorate colles
457(6)
Chorus: Plorate filii Israel
463(8)
Heinrich Schutz: O lieber Herre Gott, SWV 287, sacred concerto, from Kleine geistliche Konzerte I
471(6)
Heinrich Schutz: Saul, was verfolgst du mich, SWV 415, sacred concerto, from Symphoniae sacrae III
477(18)
Girolamo Frescobaldi: Toccata No. 3
495(3)
Girolamo Frescobaldi: Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali
498(4)
Biagio Marini: Sonata IV per il violino per sonar con due corde, sonata for violin and continuo
502(9)
France, England, Spain, and the New World in the Seventeenth Century
Jean-Baptiste Lully: Armide, opera: Excerpts
Overture
511(2)
Act II, Scene 5: Enfin il est en ma puissance
513(9)
Elisabeth-Claude Jacquet de la Guerre: Suite in A Minor, keyboard suite, from Pieces de clavecin
Prelude
522(3)
Allemande
525(1)
Courante I and II
526(2)
Sarabande
528(1)
Gigue
529(1)
Chaconne
530(2)
Gavotte
532(1)
Menuet
533(4)
Henry Purcell: Dido and Aeneas, opera: Conclusion
Recitative: Thy hand, Belinda
537(1)
Lament (ground bass aria): When I am laid in earth
538(2)
Chorus: With drooping wings
540(5)
Tomas de Torrejon y Velasco, La purpura de la rosa, opera: Excerpt
545(10)
Juan de Araujo: Los coflades de la estleya, villancico
555(12)
Italy and Germany in the Late Seventeenth Century
Alessandro Scarlatti: Clori vezzosa, e bella, cantata: Conclusion
Recitative: Vivo penando
567(1)
Aria: Si, si ben mio
568(5)
Arcangelo Corelli: Trio Sonata, Op. 3, No. 2
Grave
573(1)
Allegro
574(2)
Adagio
576(1)
Allegro
577(5)
Dieterich Buxtehude: Praeludium in E Major, BuxWV 141, organ prelude
582(5)
The Eighteenth Century
The Early Eighteenth Century in Italy and France
Antonio Vivaldi: Concerto for Violin and Orchestra in A Minor, Op. 3, No. 6
Allegro
587(15)
Largo
602(2)
Presto
604(16)
Francois Couperin: Vingt-cinquieme ordre, keyboard suite: Excerpts
La visionaire
620(2)
La muse victorieuse
622(4)
Jean-Philippe Rameau: Hippolyte et Aricie, opera: Conclusion of Act IV
626(21)
German Composers of the Late Baroque
Johann Sebastian Bach: Prelude and Fugue in A Minor, BWV 543
647(8)
Johann Sebastian Bach: Chorale Prelude on Durch Adams Fall, BWV 637
655(3)
Johann Sebastian Bach: Nun komm, der Heiden Heiland, BWV 62, cantata
No. 1, Chorus: Nun komm, der Heiden Heiland
658(11)
No. 2, Aria (tenor): Bewundert, o Menschen
669(7)
No. 3, Recitative (bass): So geht aus Gottes Herrlichkeit und Thron
676(1)
No. 4, Aria (bass): Streite, siege, starker Held!
676(3)
No. 5, Accompanied recitative (soprano and alto): Wir ehren diese Herrlichkeit
679(1)
No. 6, Chorale: Lob sei Gott, dem Vater, ton
680(4)
George Frideric Handel: Giulio Cesare, opera: Act II, Scenes 1-2
Eseguisti
684(3)
V'adoro pupille
687(7)
George Frideric Handel: Saul, oratorio: Act II, Scene 10
No. 66, Accompanied recitative: The Time at length is come
694(1)
No. 67, Recitative: Where is the Son of Jesse?
695(2)
No. 68, Chorus: O fatal Consequence of Rage
697(28)
Appendixes and Indexes
Instrument Names and Abbreviations
725(3)
Glossary of Score and Performance Indications
728(4)
Index of Composers
732(2)
Index of Titles
734(2)
Index of Forms and Genres
736


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