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Take Note An Introduction to Music Through Active Listening,9780195314335
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Take Note An Introduction to Music Through Active Listening

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ISBN13:

9780195314335

ISBN10:
0195314336
Format:
Paperback
Pub. Date:
2/6/2014
Publisher(s):
Oxford University Press, USA
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Summary

Take Note: An Introduction to Music Through Active Listening is an innovative music appreciation text, designed to help students become active and attentive listeners through an in-depth examination of a recurring repertory of core musical works. By exploring each element of music through the lens of these core works--which were carefully selected to represent a variety of styles and genres--students deepen their understanding of how music works and develop strong listening skills that will enhance their enjoyment of music. Combining this listening-centered approach with an overview of Western music history, interactive activities, and in-text features that invite students to discover additional works outside of the classroom, Take Note prepares students for a lifetime of music appreciation.

Distinctive features
* Listening-centered approach: develops student's understanding of the basic elements of music
* Recurring core repertory: explores the elements of music through a select group of musical works that reflect a variety of styles (piano, winds, brass, and percussion) and genres (jazz, lieder, world, and choral music)
* Historical context: gives students an overview of Western music from the Medieval period to the present through a 3-chapter historical survey, timelines, and "Focus On," "In History," and "Across the Arts" boxes
* "If You Liked This Music" boxes: encourages students to expand their playlists and listening skills beyond the core repertory by offering additional listening suggestions throughout the text
* Dashboard for Take Note: offers streaming audio of all of the musical selections in the text plus instrument videos, activities, and interactive listening guides that provide moment-by-moment explanations of key works through a running commentary. Save money by purchasing a new book bundled with a Dashboard access code or purchase Dashboard separately at www.oup.com/us/wallace.

Author Biography


Robin Wallace is Professor of Musicology at Baylor University. He is the author of Beethoven's Critics (Cambridge University Press, 1986), coeditor and translator for the series The Critical Reception of Beethoven's Compositions, and has published articles and reviews in Music and Letters, The Journal of Musicology, The Journal of Musicological Research, Beethoven Forum and Music Library Association Notes.

Table of Contents


Guide to the Core Repertory of Musical Works
Letter from the Author
Preface
Acknowledgments
Chapter 1: Learning to Listen Actively
Active Listening
The Listening Situation
-- Tune out distractions
-- Give your undivided attention
-- Concentrate on the beginning
-- Listen more than once
-- Move from emotional to active listening
A Core Repertory of Works
Key Elements of Music
-- Form
-- Timbre
-- Rhythm and Meter
-- Melody
-- Harmony
-- Texture
Music in Context
-- Music and Text
-- Music and Drama
Listening Practice
-- An Emotional Response to Music
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
-- Focus on Antonín Dvo?ák (1841-1904)
-- In History: Dvo?ák's Slavonic Dance in E minor, Op. 72, no. 10
-- From Emotional to Active Listening
-- Learning to Listen Guide: Palestrina: Sicut cervus
-- Focus on Giovanni Pierluigi da Palestrina (ca. 1525-1594)
-- Music and the Roman Catholic Church
-- If You Liked This Music
Exploring Longer Works
-- Mozart, Symphony no. 40 in G Minor: Listen for Form
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
-- Focus on Wolfgang Amadeus Mozart (1756-1791)
-- Bach, Concerto in D Minor: Listen for Timbre
-- Learning to Listen Guide: Bach: Concerto in D minor for harpsichord and strings, BWV 1052
-- Focus on Original Instruments
-- Crumb, Black Angels: Listen for Harmony and Texture
-- Learning to Listen Guide: Crumb: Black Angels
-- Focus on George Crumb (b. 1929)
PART 1 LISTENING THROUGH HISTORY
Chapter 2: Medieval, Renaissance, and Baroque Music
The Periods of Music History
-- Stylistic Periods of Western Classical Music
-- Establishing the Periods of Classical Music
Medieval Music
Renaissance Music
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Kyrie
-- Learning to Listen Guide: Palestrina: Sicut cervus
-- Focus on Giovanni Pierluigi da Palestrina (ca. 1525-1594)
Baroque Music
-- The Baroque Audience
-- Instruments of the Baroque Repertory
-- Musical Elements of the Baroque Repertory
-- The Baroque Style
-- Monteverdi's Io son pur vezzosetta
-- Focus on Claudio Monteverdi (1567-1643)
-- Learning to Listen Guide: Monteverdi: Io son pur vezzosetta, from Madrigals, Book 7
-- Across the Arts: Sonnet XXX by William Shakespeare
-- Bach's Mass in B minor
-- Learning to Listen Guide: Bach: Mass in B Minor, Gloria
-- Focus on Johann Sebastian Bach (1685-1750)
-- In History: Bach's Mass in B Minor
-- If You Liked This Music
Chapter 3: Classical and Romantic Music
Classical Music
-- The Classical Audience
-- Instruments of the Classical Repertory
-- Musical Elements of the Classical Repertory
-- Mozart's Serenade No. 10, Gran partita
-- Learning to Listen Guide: Mozart: Gran partita, K. 361
-- Mozart's The Marriage of Figaro
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, "Dove sono"
-- Haydn's String Quartet in B-flat Major
-- Focus on Joseph Haydn (1732-1809)
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3
-- Beethoven's Symphony no. 5
-- The Symphony as Musical Story-Telling
-- Focus on Ludwig van Beethoven (1770-1827)
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67
Romantic Music
-- The Romantic Audience
-- Across the Arts: William Blake's Union of Poetry and Painting
-- Instruments of the Romantic Repertory
-- Musical Elements of the Romantic Repertory
-- Chopin's Ballade in G minor
-- Learning to Listen Guide: Chopin, Ballade No. 1 in G minor, Op. 23
-- Focus on Frédéric Chopin (1810-1849)
-- Berlioz's Roméo et Juliette
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Ohé, Capulets! and Scčne d'amour
-- Focus on Hector Berlioz (1803-1869)
-- Smetana's árka
-- Learning to Listen Guide: Smetana: árka, from Má Vlast (My Homeland)
-- Focus on Bed?ich Smetana (1824-1884)
-- In History: Smetana's árka
-- If You Liked This Music
Chapter 4: The Twentieth Century and Beyond: Modernism and Jazz
Modern Music
-- The Modern Audience
-- Instruments of the Modern Classical Repertory
-- Musical Elements of the Modern Repertory
-- Stravinski's Symphony of Psalms
-- Learning to Listen Guide: Stravinsky, Symphony of Psalms
-- Focus on Igor Stravinsky (1882-1971)
-- Across the Arts: Of Cathedrals and Sky Scrapers-Architecture That Joins Earth and Sky
-- Debussy's Sonata for flute, viola, and harp
-- Learning to Listen Guide: Debussy: Sonata for flute, viola, and harp
-- Focus on Claude Debussy (1862-1918)
Contemporary Music
Listening to Jazz-Sophisticated Music with Popular Roots
-- Focus on William "Count" Basie (1904-1984)
-- The Story Behind Lester Leaps In
-- Focus on the Original 1939 Recording
-- First Impressions of Lester Leaps In
-- Listening for the Beat
-- Listening for the Melodies and Chords
-- Listening for the Form
--Listening Closely to Lester Leaps In
-- The Sections of Lester Leaps In
-- How the Pattern Works: Repetition and Contrast
-- Across the Arts: A Jazz Pattern in the Poetry of E.E. Cummings
-- The First Chorus
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 1st chorus
-- The Pattern Continues
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 2nd - 3rd choruses
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 4th chorus
-- The Saxophone Solo
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 5th-11th choruses
-- The Vibraphone Solo
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 12th-18th choruses
-- The Remaining Choruses
Taking It All In
-- If You Liked This Music
-- In History: Basie's Lester Leaps In
PART 2 LISTENING THROUGH MUSICAL ELEMENTS
Chapter 5: Form and Structure
Building Blocks of Musical Form
Repetition-Based Forms
-- Strophic Form
-- Focus on Franz Schubert (1797-1828)
-- Learning to Listen Guide: Schubert: Winterreise, Die Post
-- If You Liked This Music
-- Modified Strophic Form
-- Learning to Listen Guide: Schubert: Winterreise, Der Lindenbaum
-- Variation Form
-- Focus on Following the Score
-- Focus on the Clarinet
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VI: Tema con variazioni
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VI: Tema con variazioni
-- In History: Mozart's Gran Partita
Contrast and Return-Based Forms
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, V: Romanze, Adagio-Allegretto-Adagio
-- Rondo Form
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VII: Rondeau: Allegro
-- Sonata Form
-- Across the Arts: How Music Tells a Story
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
-- Learning to Listen Guide: Ives: Violin Sonata no. 4 ("Children's Day at the Camp Meeting")
Multi-Movement Forms
-- The Symphonic Model
-- If You Liked This Music
-- The Suite Model
Other Approaches to Form
-- Steady Growth-Arch Form
-- Forms for Music with Text
-- Learning to Listen Guide: Machaut: Foy porter, virelai
-- Focus on Troubadours
Chapter 6: Timbre--the Character of a Sound
-- Across the Arts: The Painter's Art
Timbre and Design of Musical Instruments
Sounds of the Voice
-- Voices and Vocal Ranges
-- Vocal Timbre in Opera
-- Learning to Listen Guide: Verdi: Otello, Act 1, Love duet
-- Learning to Listen Guide: Bach: Mass in B Minor, Gloria, Domine Deus, rex coelestis
-- Focus on Countertenors
-- Many Voices, One Timbre: The Choir
-- Voice and Orchestra: Berlioz's Roméo et Juliette
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Récitatif choral
Timbres of the Orchestra
-- The String Section
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Scčne d'amour
--, -- The String Section
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, II: Minuet with two trios
-- The Brass Section
-- Learning to Listen Guide: Gould: An American Salute, beginning
-- Timbres of Percussion Instruments
-- Learning to Listen Guide: Dallapiccola: Canti di Prigionia
-- Percussion Timbres in Non-Western Mucsc
-- Learning to Listen Guide: Gender Wayang, Sukawati (Sulendro)
-- Chamber Ensembles
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3, 2nd movement
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio
Timbre in Performance
-- Timbre as Structural Division: Stravinsky's Symphony of Psalms
-- Learning to Listen Guide: Stravinsky: Symphony of Psalms
-- Timbre as Sonic Experiment: Crumb's Black Angels
-- In History: Crumb's Black Angels
Chapter 7: Rhythm and Meter
Components of Rhythm
-- Beat
-- Meter
-- Accent
-- Tempo
Exploring Meter
-- Duple Meter: Sousa and Count Basie
-- Across the Arts: Shakespeare's Rhythm
-- Triple Meter: Dvo?ák's Slavonic Dance
-- Focus on Antonín Dvo?ák (1841-1904)
-- Listening Closely for Meter
-- How Dvo?ák Shifts the Rhythm
-- Across the Arts: How Meter Shifts in Poetry
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
Syncopation: Where's the Beat?
-- Swing: Lester Leaps In
-- Learning to Listen Guide: William "Count" Basie: Lester Leaps In
-- Syncopation in Classical Music: Bach's Harpsichord Chorus
-- Learning to Listen Guide: Bach: Concerto in D minor for harpsichord and strings, BWV 1052
-- Focus on Joseph Haydn (1732-1809)
-- Haydn the Beat
-- Learning to Listen Guide: Haydn: String Quartet in B-flat Major, op. 64, no. 3
-- In History: Haydn's String Quartet, op. 64, no. 3
Compound Meters
-- Compound Meters in the Middle Ages: Machaut
-- Across the Arts: The Medieval Worldview
-- Learning to Listen Guide: Machaut: Lasse! comment oublieray/Se j'aim mon loyal/Pour quoy me bat mes maris?
-- If You Liked This Music
-- Compound meter in Romantic Music: A Chopin Ballade
-- Learning to Listen Guide: Chopin: Ballade no. 1 in G minor, op. 23
Disguising the Meter: Debussy and Impressionism
-- Across the Arts: Blurring the Lines
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, III: Final-Allegro moderato ma risoluto
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, II: Interlude, Tempo di Minuetto
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, I: Pastorale-Lento, dolce rubato
The Twentieth Century: Rhythmic Freedom
-- Irregular Meters: Ives's Sonata no. 4
-- Focus on Charles Ives (1874-1954)
-- Irregular compound Meters: Vandervelde's Genesis II
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio, beginning
Polymeters: Global Music
-- Learning to Listen Guide: Jumping Dance Drums
-- If You Liked This Music
Chapter 8: Melody
Chapter Concepts
Melodic Lines in a Non-Western Melody
-- Learning to Listen Guide: Raga Bhankar
-- In History: Raga Bhankar
-- If You Liked This Music
Melody in Western Music
-- Musical Intervals
-- Rhythm and Melody
-- Phrase Structure
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
-- Across the Arts: Dvo?ák, Dance, and Poetry
Roots of Modern Melody
-- Balanced Phrase Structure: The Dies Irae
-- Learning to Listen Guide: Thomas of Celano: Dies Irae
-- The First Two Stanzas
-- Stanzas Three and Four
-- Melodic Phrase Structure: From Celano to Chopin and Debussy
-- Internal Repetition: A Chopin Nocturne
-- Learning to Listen Guide: Chopin: Nocturne in A-flat major, Op. 32, no. 2, beginning
-- Melodic Disguise: Debussy
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp
Musical Motives
-- The Opening Notes as Motive: Beethoven's Fifth Symphony
-- Motive Cohesiveness: The Second Theme of Beethoven's Fifth Symphony
-- Melody and Thematic Development: The Development Section of Beethoven's Fifth Symphony
-- Binding it all Together: The Recapitulation of Beethoven's Fifth Symphony
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, op. 67
Motive and Melody
-- If You Liked This Music
-- Thematic Development in Mozart
-- Learning to Listen Guide: Mozart: Gran partita, K. 361
Chapter 9: Harmony and Texture
The Middle Ages: Texture
-- Monophonic Texture
-- Focus on Chant
-- Polyphonic Texture
The Renaissance: Counterpoint Comes to the Fore
-- A Masterpiece of Polyphonic Texture: Josquin's Missa L'homme Armé
-- The Kyrie
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Kyrie
-- The Agnus Dei
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Agnus Dei
Focus on Josquin des Prez (ca. 1450-1521)
The Baroque: Counterpoint Yields to Harmony
-- Homophonic Texture
-- Functional Harmony
-- Focus on Johann Sebastian Bach (1685-1750)
-- Fugal Texture
-- Learning to Listen Guide: Bach: Mass in B minor
The Classical Period: Functional Harmony Reigns
-- Major and Minor: The Exposition of Mozart's Symphony no. 40
-- Polyphony in the Development Section
-- The Recapitulation: The Original Texture Returns
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
The Romantic Period: Harmony Begins to Change
-- Harmonic Enrichment: Chopin's Nocturne in A-flat Major
-- Learning to Listen Guide: Chopin: Nocturne in A-flat Major, op. 32, no. 2
-- Harmonic Revolution: Wagner's Tristan und Isolde
-- Focus on Richard Wagner (1813-1883)
-- Learning to Listen Guide: Wagner: Tristan und Isolde, Prelude, beginning
-- If You Liked This Music
The Modern Period: Dissonance is Set Free
-- Harmony as an Adjective: Debussy's Sonata for Flute, Viola, and Harp
-- Across the Arts: Color and Suggestion
-- If You Liked This Music
-- Stravinsky's Symphony of Psalms: Echoing Bach
-- Learning to Listen Guide: Stravinsky: Symphony of Psalms
-- In History: Stravinsky's Symphony of Psalms
The Later 20th Century and Beyond: Anything Can Happen
-- Focus on Janika Vandervelde (b. 1955)
--Crumb's Black Angels: Absence
-- Learning to Listen Guide: Crumb: Black Angels, II: Absence
-- Crumb's Black Angels: Return
-- Learning to Listen Guide: Crumb: Black Angels, III: Return
Harmony, Texture, and Meaning
PART 3 BRINGING IT ALL TOGETHER
Chapter 10: Music and Text
Fitting Music and Text Together
-- If You Liked This Music
-- Focus on the Piano
-- Schubert, Winterreise, Der Lindenbaum
-- Learning to Listen Guide: Schubert, Winterreise, Der Lindenbaum
-- Text as Drama: Winterreise, Die Post
-- Learning to Listen Guide: Schubert, Winterreise, Die Post
-- In History: Schubert's Winterreise
-- Polytextuality
-- Learning to Listen Guide: Machaut: Lasse! comment oublieray/Se j'aim mon loyal/Pour quoy me bat mes maris?
How Music and Text Communicate
-- Semantic Content: The Sense
-- Phonetic Content: The Sound
-- Syntax: The Structure
-- Learning to Listen Guide: Schumann: Dichterliebe, Ich grolle nicht
-- Can These Qualities Conflict?
Interpreting Persona
-- The Composer's Persona: Schubert's Der Leiermann
-- Learning to Listen Guide: Schubert: Winterreise, Der Leiermann
-- The Character's Persona: Schumann's Die Alten, Bösen Lieder
-- Learning to Listen Guide: Schumann: Dichterliebe, Die alten, bösen Lieder
-- The Listener's Persona: Dallapiccola's Canti di Prigionia
-- Learning to Listen Guide: Dallapiccola: Canti di prigionia, 1st movement: Preghiera di Maria Stuarda
-- Across the Arts: Painter's Against Fascism
-- Learning to Listen Guide: Dallapiccola: Canti di prigionia, 2nd movement: Invocazione di Boezio,
-- Focus on Luigi Dallapiccola (1904-1975)
-- The Performer's Persona: Bob Dylan and His "Covers"
-- If You Liked This Music
Chapter 11: Music and Drama
How Music Contributes to Drama
-- Across the Arts: What's Up With Cartoon Music?
-- Cinematic Opera
-- A Literary Link
Music Drama
-- Focus on Giuseppe Verdi (1813-1901)
-- Learning to Listen Guide: Verdi, Otello, beginning of Act I
-- In History: Verdi's Otello
Number Opera
-- Focus on Wolfgang Amadeus Mozart (1756-1791)
-- Recitative: A Useful Convention
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, recitative from Act I
-- Arias: The Music that Provides the Magic
-- Meet Cherubino
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, Non so piů cosa son, cosa faccio
Integrating Music Drama and Number Opera
-- If You Liked This Music
The Role of the Libretto
-- Stories of the Operas
-- Why the Libretto is Important
The Libretto and the Music Drama: Transforming Othello
-- What Shakespeare Tells Us about Iago
-- What Boito Tells Us about Iago
-- What Verdi Tells Us about Iago
-- Learning to Listen Guide: Verdi, Otello, Iago's monologue from Act II
-- The Credo Monologue
-- The Trio from Act III
-- Learning to Listen Guide: Verdi, Otello, trio from Act III
The Libretto and the Number Opera: Transforming The Marriage of Figaro
-- What Beaumarchais Tells Us about Cherubino
-- What Da Ponte Tells Us about the Countess
-- Learning to Listen Guide: Mozart, Le Nozze di Figaro, K. 492, beginning of Act II
-- What Mozart Tells Us about the Countess
-- The Opening Duet
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, opening duet
-- The Sextet in Act III
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, sextet from Act III
-- If You Liked This Music
Some Final Thoughts
Chapter 12: Instrumental Music and Meaning
Program Music: Telling a Story
-- Learning to Listen Guide: Smetana: árka, from Má Vlast (My Homeland)
-- Focus on the Orchestra
Types of Musical Meaning
-- Symbolic Meaning
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Agnus Dei III
-- Meaning Through Musical Gesture
-- Personal and Accrued Meaning
-- Across the Arts: Movies and Famous Music
Musical Form and Meaning
-- Ternary Form: Mozart and Dvo?ák
-- Learning to Listen Guide: Chopin: Nocturne in A-flat major, Op. 32, no. 2
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
-- Theme and Variations Forms: A Character's Many Moods
-- Sonata Form: The Musical Essay
Beethoven's Symphony no. 5
-- In History: Beethoven's Symphony no. 5
-- Beethoven's Fifth: A Guided Tour
-- The First Movement
-- Exposition
-- Development
-- Recapitulation
-- Coda
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, I: Allegro con brio
-- The Second Movement
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, II: Andante con moto
-- The Third Movement
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, III: Allegro
-- The Fourth Movement: Finale
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, IV: Allegro
-- Legacy
Narrative Contour and Gender
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio
-- If You Liked This Music
Bonus Online Chapter 13: Actively Listening to Additional Works
Perotinus, Sederunt principes
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Perotinus and the Middle Ages
-- Sederunt principes In Today's World
-- If You Liked This Music: Contemporary Performers of Music from the Middle Ages
-- Questions for Further Study
Handel, Messiah
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Handel and the Baroque
-- Sacred and Secular Meanings
-- Messiah in Today's World
-- If You Liked This Music: Other Works of Handel
-- Questions for Further Study
Brahms, Violin Concerto in D Major, Op. 77
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Brahms and the Romantic Period
-- Classical and Popular Styles
-- If You Liked This Music: Other Late Romantic Works
-- Questions for Further Study
Aaron Copland, Four Dance Episodes from Rodeo
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Copland and the 20th Century
-- Changing Meanings
-- If You Liked This Music: More by Aaron Copland
-- Questions for Further Study
Glossary
Credits
Index


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