Connect Access Card for Experience Music

by Charlton, Katherine

• ISBN13: 9781259296710
• ISBN10: 1259296717
• Additional ISBN(s): 9780077412265, 9781260154689
• Edition: 4th
• Format: Access Card
• Copyright: 2015-01-23
• Publisher: McGraw-Hill Education
• More Book Details
• Purchase Benefits

Summary

Experience Music, 4e builds listening skills that extend beyond the classroom with McGraw-Hill Connect® Music’s new mobile listening guides, delivering powerful interactive music selections to students on-the-go. The varied experience that each student brings to the Music Appreciation course is now fostered through McGraw-Hill LearnSmart® and Spotify® integration, to personalize learning the language of music and the art of listening.

Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, so that your class time is more engaging and effective. It provides tools that make assessment easier, learning more engaging, and studying more efficient.

Table of Contents

Prelude: The Fundamentals of Music

Chapter 1 Elements of Music: Sound, Rhythm, Melody, and Harmony

Sound

Rhythm

Melody

Harmony

Chapter 2 Elements that Structure Music—Key, Texture, and Form

Key

Texture

Form

Chapter 3 Musical Instruments and Ensembles

Voices and Vocal Ensembles

Stringed Instruments

Plucked Stringed Instruments

Bowed Stringed Instruments

Woodwinds

Brasses

Percussion Instruments

De?nite Pitch

Inde?nite Pitch

Keyboard Instruments

Electronic Instruments

Instruments in Non-Western Cultures

Instrumental Ensembles

Chamber Ensembles

The Orchestra

The Wind Ensemble

The Conductor

Prelude: The Culture of Medieval Europe

Chapter 4 Medieval Music

Medieval Sacred Music

Gregorian Chant

Listening Guide: “Dies irae” (“Day of Wrath”), beginning section, by Anonymous

Hildegard of Bingen

Listening Guide: “O pastor animarum” (“Shepherd of Souls”), by Hildegard of Bingen

MusiCurious: Medieval Nuns’ Daily Lives

The Mass

Polyphony and Measured Rhythm

Featured Listening: “Viderunt omnes” (“All Have Seen”), beginning section, by Léonin

Guillaume de Machaut

Listening Guide: “Agnus Dei” (“Lamb of God”) from Messe de Nostre Dame (Mass of Our Lady), by Guillaume de Machaut

Medieval Secular Music

Hearing the Difference “Dies irae” and Machaut’s “Agnus Dei” 39

Improvised Accompaniment to Monophonic Songs

Listening Guide: “Tant m’abelis” (“So Much I Love”), by Berenguier de Palou 40

The Motet 43

Characteristics of Medieval Music 45

Prelude: The Renaissance: The Rebirth of Humanism

Chapter 5 Renaissance Music

Renaissance Sacred Music

Josquin des Prez

Featured Listening: “Ave Maria” (“Hail, Mary”), by Josquin des Prez

Giovanni Pierluigi da Palestrina

Listening Guide: “Kyrie” (“Lord”) from Missa Papae Marcelli (Pope Marcellus Mass), by Giovanni Pierluigi da Palestrina

Renaissance Secular Music

Hearing the Difference Josquin’s “Ave Maria” and Palestrina’s “Kyrie”

The Madrigal in Italy

MusiCurious: Home Entertainment during the Renaissance

The Madrigal in England

Listening Guide: “Fair Phyllis,” by John Farmer

The Chanson in France

The Lied in Germany

Lute Songs

Listening Guide: “Flow My Tears,” by John Dowland Renaissance Instrumental Music

Listening Guide: Three Dances from Terpsichore, by Michael Praetorius

Characteristics of Renaissance Music

Prelude: The Triumph of Baroque Style 62

Chapter 6 Baroque Opera

The Birth of Opera

Baroque Vocal Styles

MusiCurious: What Makes Opera Singers into International Stars

Claudio Monteverdi

MUSICURIOUS How Opera Makes Singers into International Stars

Listening Guide: “Tu se’ morta” (“You Are Dead”) from Act Two of Orfeo, by Claudio Monteverdi

Opera Outside of Italy

Featured Listening: “Thy Hand, Belinda” and “When I Am Laid in Earth” from Act Three of Dido and Aeneas, by Henry Purcell

Hearing the Difference: Dowland’s “Flow My Tears” and Purcell’s “When I Am Laid in Earth”

Chapter 7 Cantata

The Secular Cantata

The Chorale

The Sacred Cantata

Listening Guide: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, fourth movement, by Johann Sebastian Bach

Featured Listening: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, seventh movement, by Johann Sebastian Bach

Johann Sebastian Bach

Chapter 8 Oratorio

Oratorio

MusiCurious: Oratorio or Opera?: Know the Difference

George Frideric Handel

Messiah

Listening Guide: “Comfort Ye” from Messiah, by George Frideric Handel

Featured Listening: “Ev’ry Valley” from Messiah, by George Frideric Handel

Listening Guide: “Hallelujah” from Messiah, by George Frideric Handel

The Passion

Hearing the Difference: Bach’s “Wachet auf,” Cantata no. 140, seventh movement, and Handel’s “Hallelujah” Chorus

Chapter 9 Baroque Solo and Chamber Music

Keyboard Music

Fugue

Featured Listening: “The Little Fugue in G Minor,” by Johann Sebastian Bach

Suite

MusiCurious: The King of Instruments

Listening Guide: “Bourree I” from Cello Suite no. 3 in C major, BWV 1009, by Johann Sebastian Bach

Baroque Sonata

Elisabeth-Claude Jacquet de la Guerre

Listening Guide: “Aria,” sixth movement, from Sonata in D Minor for Violin and Basso Continuo, by Elisabeth-Claude Jacquet de la Guerre

Chapter 10 The Baroque Orchestra

The Orchestra

Listening Guide: “Minuet” from Water Music, by George Frideric Handel

MusiCurious: How Baroque Players and Singers “Decorate” Music

Concerto Grosso

Listening Guide: Brandenburg Concerto no. 5, ?rst movement, by Johann Sebastian Bach

Solo Concerto

Antonio Vivaldi

Featured Listening: “La Primavera” (“Spring”), ?rst movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

MusiCurious: Attending a Concert

Listening Guide: “La Primavera” (“Spring”), second movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

Listening Guide: “La Primavera” (“Spring”), third movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

Characteristics of Baroque Music

Prelude: The Classical Era: Reason and Revolution

Chapter 11 The Classical Symphony

The Form of Classical Multimovement Works

Single-Movement Sonata Form

Theme and Variations Form

Minuet and Trio Form

The Classical Orchestra

MusiCurious: Why Composers Write “Boring” Slow Movements

MusiCurious: What Does the Conductor Do?

Wolfgang Amadeus Mozart

Listening Guide: Symphony no. 40 in G Minor, ?rst movement, by Wolfgang Amadeus Mozart

Featured Listening: “Surprise,” Symphony no. 94 in G

Major, second movement, by Franz Joseph Haydn

Listening Guide: Symphony no. 40 in G Minor, third movement, by Wolfgang Amadeus Mozart

Hearing the Difference: Vivaldi’s “Spring,” ?rst movement, and Mozart’s Symphony no. 40 in G Minor, ?rst movement

Chapter 12 The Classical Concerto

Concerto Soloists

Double-Exposition Sonata Form

Featured Listening: Piano Concerto no. 23 in A Major, ?rst movement, K. 488, by Wolfgang Amadeus Mozart

Hearing the Difference: Bach’s Brandenburg Concerto no. 5, ?rst movement,and Mozart’s Piano Concerto no. 23, ?rst movement

Chapter 13 Classical Chamber Music

Chamber Sonatas

Franz Joseph Haydn

MusiCurious: Chamber Music Concerts

Featured Listening: String Quartet op. 33, no. 3 (“The Bird”), fourth movement, by Franz Joseph Haydn Rondo Form

A Sonata for Flute and Guitar

Listening Guide: Grande Sonata no. 85 for ?ute and guitar, third movement, Scherzo, by Mauro Giuliani

Chapter 14 Classical Vocal Music

Haydn’s Vocal Music

Classical Opera

The Marriage of Figaro

MusiCurious: Classical and Romantic Opera (The Castrato Bows Out)

The Characters

The Plot

Listening Guide: “Non so più cosa son” (“I Don’t Know What I Am Anymore”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart

Featured Listening: “Non più andrai” (“No More Will You”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart

Chapter 15 The Music of Beethoven

Ludwig van Beethoven

Featured Listening: Symphony no. 5 in C Minor, ?rst movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, second movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, third movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, fourth movement, by Ludwig van Beethoven

The Classical Piano

Hearing the Difference: Haydn’s Symphony no. 94, second movement, and Beethoven’s Symphony no. 5, second movement

Listening Guide: “Moonlight,” Piano Sonata no. 14 in C-Sharp Minor, op. 27, no. 2, ?rst movement, by Ludwig van Beethoven

Characteristics of Classical Music

Prelude: Music of the Romantic Era

Chapter 16 Romantic Songs

The Salon

Art Song

MusicCurious: How Does a Composer Write a Piece of Music?

Franz Schubert

Featured Listening: “Erlkönig” (“King of the Elves”), by Franz Schubert

Robert and Clara Schumann

Listening Guide: “Im wunderschönen Monat Mai” (“In the Wonderfully Lovely Month of May”) from Dichterliebe (A Poet’s Love), by Robert Schumann

Listening Guide: “Leibst du um Schönheit” (“If You Love for Beauty’s Sake”), by Clara Wieck Schumann

Chapter 17 Romantic Piano Music

Frédéric Chopin and Franz Liszt

Featured Listening: Nocturne, op.9, no.2, by Frédéric Chopin

Listening Guide: Transcendental Étude No. 10 in F minor by Franz Liszt

Chapter 18 Romantic Program Music

MusiCurious: Does the Listener need to know the Program in Program Music?

Hector Berlioz

Symphonie fantastique

Featured Listening: Symphonie fantastique, ?fth movement, “Dream of a Witches’ Sabbath,” by Hector Berlioz

Hearing the Difference: Beethoven’s Symphony no. 5, ?rst movement, and Berlioz’s Symphonie fantastique, ?fth movement

Other Program Music

Chapter 19 Nationalism in the Romantic Era

Bedrich Smetana

Featured Listening: “The Moldau,” by Bedrich Smetana

Chapter 20 The Concert Overture

Peter Ilyich Tchaikovsky

Romeo and Juliet Overture

MusiCurious: Romeo and Juliet: The Alternate Endings

Featured Listening: Romeo and Juliet Overture, by Peter Ilyich Tchaikovsky

Chapter 21 The Romantic Concerto

Felix Mendelssohn and Fanny Mendelssohn Hensel

Mendelssohn’s Concerto

Featured Listening: Violin Concerto in E Minor, op. 64, ?rst movement, by Felix Mendelssohn

Hearing the Difference: Vivaldi’s “La Primavera,” ?rst movement, and Mendelssohn’s Violin Concerto, ?rst movement

Chapter 22 Romantic Choral Music

Johannes Brahms

Brahms’s Requiem

Featured Listening: Ein Deutsches Requiem (A German Requiem), op. 45, fourth movement, “How Lovely Is They Dwelling Place,” by Johannes Brahms

Chapter 23 The Late Romantic Symphonies

The Romantic Symphony

Listening Guide: Symphony no. 4, fourth movement, by Johannes Brahms

Antonín Dvorák

Featured Listening: From the New World, Symphony no. 9 in E Minor, fourth movement, by Antonín Dvorák

Other Late Romantics

Listening Guide: Symphony no. 1 in D Major, third movement, by Gustav Mahler

Chapter 24 Romantic Opera in France and Italy

French Opera

Italian Opera

Giuseppe Verdi

MusiCurious: Attending an Opera

Featured Listening: “O terra, addio” (“Oh Earth, Goodbye”) from Aida, by Giuseppe Verdi Giacomo Puccini

Listening Guide: “Sì, mi chiamano Mimì” (“Yes, They Call Me Mimi”) from La Bohème, by Giacomo Puccini

Hearing the Difference: Mozart’s “Non più andrai” and Puccini’s “Si, mi chiamano Mimì”

Chapter 25 Romantic German Opera

Richard Wagner

MusiCurious: Opera Productions

Featured Listening: “Grane, mein Ross!” (“Grane, my horse!”) and ?nale to Götterdämmerung from Der Ring des Nibelungen, by Richard Wagner

Characteristics of Romantic Music

Prelude: The Early Twentieth Century

Chapter 26 Impressionism and Symbolism

Claude Debussy

Featured Listening: Prélude à L’après-midi d’un faune (Prelude to The Afternoon of a Faun), by Claude Debussy

Maurice Ravel

Hearing the Difference: Smetana’s “The Moldau” and Debussy’s Prélude à L’après-midi d’un faune

Chapter 27 Primitivism and Neoclassicism

Primitivism

Igor Stravinsky

MusiCurious: Music for Ballet

Featured Listening: Le Sacre du printemps (The Rite of Spring), Introduction, “Auguries of Spring—Dances of the Young Girls,” and “The Ritual of Abduction,” by Igor Stravinsky

Neoclassicism

Listening Guide: Concerto in E-Flat Major, the Dumbarton Oaks Concerto, ?rst movement, by Igor Stravinsky

Chapter 28 Eastern European Nationalism Béla Bartók

Featured Listening: Concerto for Orchestra, fourth movement, “Interrupted Intermezzo,” by Béla Bartók

Chapter 29 Germanic Expressionism and the Development of Serialism

MusiCurious: How is it Great Art if it is Ugly?

Arnold Schoenberg

Featured Listening: “Der Mond?eck” (“Moon?eck”), no. 18, from Pierrot Lunaire (Moonstruck Pierrot), by Arnold Schoenberg

Other Serial Composers

Listening Guide: Five Pieces for Orchestra, op. 10, third movement, by Anton Webern

Characteristics of Twentieth-Century Music (to World War II)

Prelude: American Innovations in the Arts 278

Chapter 30 American Music Before World War II

The Seventeenth Century

The Eighteenth Century

Featured Listening: “When Jesus Wept,” by William Billings

The Nineteenth Century

Listening Guide: “Jeanie with the Light Brown Hair,” by Stephen Foster

After the Civil War

Listening Guide: “Ah, Love, but a Day,” by Amy Beach

Canadian Music

Chapter 31 Early Jazz Styles

Origins of Jazz

Listening Guide: “Village Celebration,” by Mende Tribe of Sierra Leone

Ragtime

Listening Guide: “Maple Leaf Rag,” by Scott Joplin

The Blues

MusiCurious: Improvisation

Featured Listening: “Lost Your Head Blues,” by Bessie Smith

New Orleans Jazz

Swing Jazz

Hearing the Difference: Foster’s “Jeanie with the Light Brown Hair” and Smith’s “Lost Your Head Blues”

Listening Guide: “It Don’t Mean a Thing If It Ain’t Got That Swing,” by Duke Ellington

Chapter 32 Developments in Jazz in the Late Twentieth Century

Bebop

Featured Listening: “Ko Ko,” by Charlie Parker Cool Jazz

MusiCurious: Attending A Jazz Concert

New Styles in the 1960s

Fusion

Listening Guide: “Miles Runs the Voodoo Down” (beginning), by Miles Davis 308

Hearing the Difference: Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”

Chapter 33 American Classical Music In?uenced by Early Jazz

George Gershwin

Listening Guide: Rhapsody in Blue, by George Gershwin William Grant Still

Featured Listening: Afro-American Symphony, ?rst movement, by William Grant Still

Chapter 34 Twentieth-Century American Classical Styles

Charles Ives

Listening Guide: The Unanswered Question, by Charles Ives

Aaron Copland

Featured Listening: “Fanfare for the Common Man,” by Aaron Copland

Ellen Taaffe Zwilich

Listening Guide: Symphony no. 1, ?rst movement, by Ellen Taaffe Zwilich

Hearing the Difference: Mozart’s Symphony no. 40, ?rst movement, and Zwilich’s Symphony no. 1, ?rst movement

Chapter 35 Musical Theater

Broadway Musicals

Leonard Bernstein

Featured Listening: “America” from West Side Story, by Leonard Bernstein

Later Musicals

MusiCurious: Musicals and Operas: Similar, but Different

Chapter 36 Film Music

The Earliest Film Music

Early Sound Films

Later Film Scoring Practices

Featured Listening: “Main Theme” from Star Wars, by John Williams

Trends in Movie Music

Characteristics of Music in America

Prelude: New Ideas and Styles from Twentieth-Century Internationalism 344

Chapter 37 World Musics

Musical Elements in Non-Western Musics

Pitch and Scale Systems

Harmony

Rhythm

Instruments

Music from Indonesia

Featured Listening: “Srepegan (slendro nim),” by Gamelan Ensemble

Music from China

Listening Guide: “Moonlight on the Ching Yang River,” by Yo Su-Nan

Music from India

Listening Guide: Folk Melody Based on Raga Des, by Baluji Shrivastav

Music from Africa

Ewe Drum Ensembles

Listening Guide: “Gadzo” (“Kayiboe, the Child Is Not Matured”), by Ewe of Ghana

Chapter 38 Post–World War II Innovations

Henry Cowell

Featured Listening: “The Banshee,” by Henry Cowell John Cage

Listening Guide: Sonata V from Sonatas and Interludes for Prepared Piano, by John Cage

Hearing the Difference: Wayang kulit Gamelan

Ensemble’s “Srepegan (slendro nim)” and Cage’s Sonata V

Electronic Music

Edgard Varèse

Listening Guide: “Poème électronique” (“Electronic Poem”), by Edgard Varèse

Terry Riley

Listening Guide: “In C,” by Terry Riley MusiCurious: Performing an Aleatoric Work

Chapter 39 Minimalism

Philip Glass

Featured Listening: Company, second movement, by Philip Glass

Hearing the Difference: Haydn’s String Quartet, fourth movement, and Glass’s Company, second movement

Steve Reich

Listening Guide: Electric Counterpoint, third movement, by Steve Reich

John Adams

Listening Guide: “Short Ride in a Fast Machine,” by John Adams

Characteristics of Non-Western-In?uenced Music

Rock Music (McGraw-Hill Education Create)

Concert Report Forms (McGraw-Hill Education Create)

Chamber Music Concert

Choral Concert

Jazz Band

Opera

Orchestra of Wind Ensemble (Concert Band) Concert

Solo or Small Group Voice Concert

World Music(s) Concert

Glossary 379

Credits 387

Index

Note: A chapter on Rock Music is available for free download on the OLC