Experience Music with 2 Audio CDs

by Charlton, Katherine; Hickok, Robert

• ISBN13: 9780077260705
• ISBN10: 0077260708
• Edition: 2nd
• Format: Nonspecific Binding
• Copyright: 2008-07-10
• Publisher: McGraw-Hill Education

Summary

One of the most successful new texts in Music Appreciation in over a decade,Experience Musicprovides an innovative approach to the fundamental challenge of the music appreciation course: the development of real listening skills in each student. With its unique three-part chapter structure in which one piece of music is experienced three times over the course of the chapter, the text offers a fresh, exciting, and more effective way to help students appreciate and understand great music of all kinds.This second edition has been carefully revised to build upon and refine the text's highly effective approach through extended pedagogy, more focused features, and new and updated Listening Guides.A program of well-crafted supplementary materials continues to serve the needs of students as well as instructors using the text. Each new text is packaged with a set of two audio CDs featuring key works addressed in the text and Online Learning Center; additional musical selections are also available for optional purchase. This edition moves the content of the companion CD-ROM to the Online Learning Center, providing open access for all students to the many activities and exercises. Within the text itself and in the online components,Experience Musicprovides the tools that help students listen more actively and appreciatively.

Author Biography

Katherine Charlton Calkins is returning to the position of chair of the music department at Mt. San Antonio College in fall, 2008, after having had a full-year sabbatical to study music by women composers. As a performer, she has a degree in classical guitar and has toured in Southern France and Tuscany playing lute with an early music group with her late, first husband Andrew Charlton. She also played percussion in the California University at Fullerton Wind Ensemble when they toured in Japan. She got her M.A. degree in music history and has continued with further graduate study in that same field. As a teacher, she started the guitar program at Mt. San Antonio College in 1974, where she continues to teach music history and appreciation. She began to teach a course in the history of rock music in the early nineteen-eighties and decided to try writing her own book because she did not really like any that were available at that time. That book, Rock Music Styles: A History was published in its first edition in 1990 and is now out in its fifth edition, published by McGraw-Hill Higher Education. Her second book, Experience Music, also published by McGraw-Hill, will be out in its second edition summer of 2008... .

Robert Hickok is Professor Emeritus of Music (Choral Conducting) from the University of California, Irvine. .

Table of Contents

(* indicates the feature is new to this edition)

Preface

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

Definite Pitch
Indefinite 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

First Hearing/Finale:

Viderunt omnes (All have seen), Léonin

Medieval Sacred Music

Gregorian Chant
Short Listening Example: Beginning of “Salve Regina”
* Listening Guide: “Dies irae” (“Day of Wrath”) chant

Hildegard of Bingen

* Listening Guide: O pastor animarum (Shepherd of souls), Hildegard of Bingen
The Live Experience
* Life in a Medieval Convent
The Mass
Polyphony and Measured Rhythm
* Listening Guide: Viderunt omnes (All have seen) by Léonin

Guillaume de Machaut

Listening Guide: “Agnus Dei,” Machaut
Hearing the Difference * “Dies irae” and Machaut’s “Agnus Dei”

Medieval Secular Music

Improvised Accompaniment to Monophonic Songs * Listening Guide: “Tant m’abelis” (“So much I love”), Berenguier de Palou

The Motet

Summary

Characteristics of Medieval Music

Prelude – The Renaissance: The Rebirth of Humanism

Chapter 5 – Renaissance Music

First Hearing/Finale:

“Ave Maria,” Josquin des Prez

Renaissance Sacred Music

Josquin des Prez
Listening Guide: “Ave Maria,” Josquin des Prez
Giovanni Pierluigi da Palestrina
Listening Guide: “Kyrie,” Palestrina
Hearing the Difference
* Josquin’s “Ave Maria” and Palestrina’s “Kyrie”

Renaissance Secular Music

The Madrigal in Italy
The Madrigal in England
Listening Guide: “Fair Phyllis” by Farmer
The Live Experience
Madrigal Singing in Homes
The Chanson in France
The Lied in Germany
Lute Songs
* Listening Guide: “Flow my tears” John Dowland
Renaissance Instrumental Music
Listening Guide: “Three Dances from Terpsichore,” Praetorius
The Live Experience
Renaissance Dances
Summary
Characteristics of Renaissance Music

Prelude – The Triumph of the Baroque Style

Chapter 6 – Baroque Opera

First Hearing/Finale:

“Thy Hand Belinda,” “When I am laid in earth,” Purcell

The Birth of Opera

Baroque Vocal Styles

Claudio Monteverdi

Listening Guide: “Tu se’ morta” (“You are dead”) from Orfeo
The Live Experience
Opera Singers of the Baroque
Opera Outside of Italy

Henry Purcell

Listening Guide: * “Thy Hand Belinda,” “When I am laid in earth,” Purcell
Hearing the Difference * Dowland’s “Flow my tears” and Purcell’s “When I am laid in earth”
Summary

Chapter 7 – Cantata

First Hearing/Finale:

Cantata no. 140 “Wachet Auf” (“Sleepers Awake”) mvt. 7, Bach

The Secular Cantata

The Chorale

The Live Experience
Basso Continuo Players

The Sacred Cantata

Johann Sebastian Bach

* Listening Guide: Cantata no. 140 “Wachet Auf,” (“Sleepers Awake”) *mvt. 4
*mvt. 7
Summary

Chapter 8 – Oratorio

First Hearing/Finale:

Messiah, “Ev’ry valley,” Handel

Oratorio

George Frideric Handel

Messiah
Listening Guides: “Comfort ye,”
“Ev’ry valley,”
and “Hallelujah,” Handel
Hearing the Difference
* Bach’s Cantata no. 140 “Wachet Auf” (“Sleepers Awake”), seventh movement and Handel’s “Hallelujah,” from Messiah
The Live Experience
* Oratorio Performers

The Passion

Summary

Chapter 9 – Baroque Solo and Chamber Music

First Hearing/Finale:

“The Little Fugue in G Minor,” Bach

Keyboard Music

Fugue

Listening Guide: “The Little Fugue in G Minor,” Bach
The Live Experience
Playing the Organ

Suite

* Listening Guide: Bourree I from Cello Suite no. 3 in C major, BWV 1009, Bach

Sonata

Elisabeth-Claude Jacquet de la Guerre
* Listening Guide: Aria from Sonata for violin and basso continuo, Jacquet de la Guerre
Summary

Chapter 10 – The Baroque Orchestra

First Hearing/Finale:

“Spring,” mvt. 1, Vivaldi

The Orchestra

* Listening Guide: Menuet from Water Music, Handel

The Concerto

The Live Experience
Playing Solos in Baroque Music

Concerto Grosso

Listening Guide: Brandenburg 5, mvt. 1, Bach

Solo Concerto

Antonio Vivaldi

Listening Guide: “Spring,” mvt. 1, Vivaldi
* mvt. 2
* mvt. 3
The Live Experience Attending a Concert
Summary
Characteristics of Baroque Music

Prelude – The Classical Era: Reason and Revolution

Chapter 11 – The Classical Symphony

First Hearing/Finale:

Symphony no. 94 in G Major, “Surprise,” mvt. 2, Haydn

Three and Four Movement Structures

The Live Experience
* Why composers write “boring” slow movements

The Classical Orchestra

The Live Experience
The Duties of the Conductor

Wolfgang Amadeus Mozart

Single Movement Sonata Form

Exposition
Development
Recapitulation
* Listening Guide: Symphony no. 40 in G Minor, mvt. 1, by Mozart

Theme and Variations Form

* Listening Guide: Symphony no. 94 in G Major, mvt., 2 “Surprise” by Haydn

Minuet and Trio Form

Listening Guide: Symphony no. 40 in G Minor, mvt. 3, by Mozart
Hearing the Difference
* Vivaldi’s “Spring,” first movement from The Four Seasons, and Mozart’s Symphony no. 40 in G Minor, first movement
Summary

Chapter 12 – The Classical Concerto

First Hearing/Finale:

Piano Concerto no. 23 in A Major, mvt. 1, Mozart (Move material from the Live Experience box in the first edition to the new general chapter)
The Live Experience
* What composers need to know to write their music
Listening Guide: Piano Concerto no. 23 in A Major, mvt. 1, Mozart
Hearing the Difference
* Bach’s Brandenburg Concerto no. 5, first movement and Mozart’s Piano Concerto no. 23, first movement
Summary

Chapter 13 – Classical Chamber Music

First Hearing/Finale:

String Quartet op. 33, no. 3, mvt.4, Haydn

Franz Joseph Haydn

String Quartets

Listening Guide: String Quartet op. 33, no. 3, mvt.4, Haydn

Chamber Sonatas

*Listening Guide: Grande Sonata no. 85 for flute and guitar, mvt.3, Scherzo, Giuliani
The Live Experience
The Performance of Chamber Music
Summary

Chapter 14 – Classical Vocal Music

First Hearing/Finale:

“Non più andrai” (“No More Will You”) from The Marriage of Figaro, Act 1, Mozart

Haydn’s Vocal Music

Classical Opera

The Marriage of Figaro
The Characters
The Plot
*Listening Guide: “Non so più cosa son” (“I don’t know what I am any more”) from The Marriage of Figaro, Act I, Mozart
Listening Guide: “Non più andrai” (“No More Will You”) from The Marriage of Figaro, Act. 1, Mozart
The Live Experience
Classical and Romantic Opera Singers
Summary

Chapter 15 – The Music of Beethoven

First Hearing/Finale:

Sym. no. 5 in C Minor, mvt. 1, Beethoven

Ludwig van Beethoven

Listening Guides: Sym. no. 5 in C Minor, mvt. 1 Beethoven
Hearing the Difference
* Haydn’s Symphony no. 94, second movement and Beethoven’s Symphony no. 5, second movement

The Classical Piano

*Listening Guide: Moonlight Sonata, mvt. 1, Beethoven
Summary
Characteristics of Classical Music

Prelude – Music of the Romantic Era

Chapter 16 – Romantic Songs

First Hearing/Finale:

“Erlkönig” (“King of the Elves”), Schubert

The Salon

Art Song

Franz Schubert

Listening Guide: “Erlkönig” (“King of the Elves”)

Robert and Clara Schumann

Listening Guide: “Im wunderschönen Monat Mai” (“In the wonderfully lovely month of May”) from Dichterliebe A Poet’s Love, R. Schumann
* Listening Guide: “Leibst du um Schönheit” (“If you love for beauty’s sake”), Clara Schumann
Summary

Chapter 17 – Romantic Piano Music

First Hearing/Finale:

Nocturne, Op.9, no.2, Chopin

Frederic Chopin and Franz Liszt

* Listening Guide: Nocturne, Op.9, no.2, Chopin
* Listening Guide: “Erlkönig,” a transcription by Liszt
Summary

Chapter 18 – Romantic Program Music

First Hearing/Finale:

Symphonie fantastique, mvt. 5, Berlioz

Hector Berlioz

Smphonie fantastique (The Fantastic Symphony) Listening Guide: Symphonie fantastique, mvt. 5, Berlioz
Hearing the Difference
Beethoven’s Symphony no. 5, first movement and Berlioz’s Symphonie fantastique, fifth movement

Other Program Music

The Live Experience
The Importance of the Program in Program Music
Summary

Chapter 19 – Nationalism in the Romantic Era

First Hearing/Finale:

The Moldau, Smetana

Bedrich Smetana

Listening Guide: The Moldau, Smetana
Summary

Chapter 20 – The Concert Overture

First Hearing/Finale:

Romeo and Juliet Overture, Tchaikovsky

Peter Ilyich Tchaikovsky

Listening Guide: Romeo and Juliet Overture, Tchaikovsky
The Live Experience
* Shakespeare’s “Romeo and Juliet” retold in many different ways
Summary

Chapter 21 – The Romantic Concerto

First Hearing/Finale:

Violin Concerto in E Minor, mvt. 1, Mendelssohn

Felix Mendelssohn and Fanny Mendelssohn Hensel

Mendelssohn’s Concerto

Listening Guide: Violin Concerto in E Minor, mvt. 1, Mendelssohn
Hearing the Difference
Vivaldi’s “Spring,” first movement, from The Four Seasons, and Mendelssohn’s Violin Concerto, first movement
Summary

Chapter 22 – Romantic Choral Music

First Hearing/Finale:

Ein Deutsches Requiem (A German Requiem), op. 45, mvt.4, Brahms

Johannes Brahms

Brahms’s Requiem

* Listening Guide: Ein Deutsches Requiem (A German Requiem), op. 45, mvt.4
Summary

Chapter 23 - Late Romantic Symphonies

First Hearing/Finale

: New World Symphony, mvt. 4, Dvorák

Romantic Symphonies

* Listening Guide: Brahms Sym. IV, mvt. 4

Antonin Dvorak

Listening Guide: New World Symphony, mvt. 4, Dvorák

Other Late Romantics

Gustav Mahler

Listening Guide: Symphony no. 1, mvt. 3, Mahler
Summary

Chapter 24 – Romantic Opera in France and Italy

First Hearing/Finale:

“O terra, addio” (Oh earth, goodbye”) from Aida, Verdi

French Opera

Italian Opera

Giuseppe Verdi

* Listening Guide: “O terra, addio” (Oh, earth, goodbye”) from Aida, Verdi

Giacomo Puccini

Listening Guide: “Si, mi chiamano Mimi” (“Yes, they call me Mimi”) from La Bohème, Act 1
The Live Experience
* Attending an opera
Summary

Chapter 25 – Romantic German Opera

First Hearing/Finale:

“Grane, mein Ross!” (“Grane, my horse!”) and finale, Wagner

Richard Wagner

* Listening Guide: “Grane, mein Ross!” (“Grane, my horse!”) and finale from Götterdämmerung, Wagner
The Live Experience
Productions of Operas
Summary
Characteristics of Romantic Music

Prelude – The Early Twentieth Century

Chapter 26 – Impressionism and Symbolism

First Hearing/Finale:

Prélude a L’apres-midi dun faune (Prelude to the Afternoon ofa Faun), Debussy

Claude Debussy

Listening Guide: Prélude a L’apres-midi dun faune (Prelude to the Afternoon ofa Faun)
Hearing the Difference Smetana’s “The Moldau” and Debussy’s Prélude a L’après-midi d’un faune (Prelude to “The Afternoon of a Faun)

Maurice Ravel

Summary

Chapter 27 – Primitivism and Neoclassicism

First Hearing/Finale:

Le Sacre du printemps (The Rite of Spring), Introduction through “The Ritual of Abduction,” Stravinsky

Primitivism

Igor Stravinsky

Listening Guide: Le Sacre du printemps (The Rite of Spring), Introduction through “The Ritual of Abduction,” Stravinsky

Neoclassicism

* Listening Guide: The Dumbarton Oaks Concerto, mvt.1, Stravinsky
Summary

Chapter 28 – Eastern European Nationalism

First Hearing/Finale:

The Concerto for Orchestra, mvt. 4, Bartók

Bela Bartók

* Listening Guide: The Concerto for Orchestra, mvt. 4, Bartók
Summary

Chapter 29 – Germanic Expressionism and the Development of Serialism

First Hearing/Finale:

No. 18, “Der Mondfleck” (“Moonfleck”) from Pierrot lunaire (Moonstruck Pierrot), Op. 21, Schoenberg

Arnold Schoenberg

* Listening Guide: No. 18, “Der Mondfleck” (“Moonfleck”) from Pierrot lunaire (Moonstruck Pierrot), Op. 21

Other Serial Composers

* Listening Guide: Five Pieces for Orchestra, Op. 10, mvt. 3, Webern
Summary
Characteristics of Twentieth-Century Music (to World War II)

Prelude – American Innovations in the Arts

Chapter 30 – American Music before World War II

First Hearing/Finale:

“When Jesus Wept,” Billings

The Seventeenth Century

The Eighteenth Century

Listening Guide: “When Jesus Wept,” Billings

The Nineteenth Century

Listening Guide: “Jeanie with the Light Brown Hair” Foster
After the Civil War
Listening Guide: “Ah, Love, but a Day,” Beach

Canadian Music

Summary

Chapter 31 – Early Jazz Styles

First Hearing/Finale:

“Lost Your Head Blues,” Smith

Origins of Jazz

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

Ragtime

*Listening Guide: “Maple Leaf Rag,” Joplin

The Blues

Listening Guide: “Lost Your Head Blues,” Smith

Swing

The Live Experience
Improvisation
Listening Guide: “It Don’t Mean a Thing, If It Ain’t Got that Swing,” Ellington
Summary

Chapter 32 – Developments in Jazz in the Late Twentieth Century

First Hearing/Finale:

“Ko Ko,” Parker

Bebop

Listening Guide: “Ko Ko,” Parker

Cool Jazz

Fusion

Listening Guide: “Miles Runs the Voodoo Down” (beginning), Davis
Hearing the Difference
Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”
Summary

Chapter 33 – American Classical Music Influenced by Early Jazz

First Hearing/Finale:

Afro-American Symphony, mvt. 1, Still

George Gershwin

Listening Guide: Rhapsody in Blue

William Grant Still

Listening Guide: Afro-American Symphony, mvt. 1
Summary

Chapter 34 – Twentieth-Century American Classical Styles

First Hearing/Finale:

“Fanfare for the Common Man,” Copland

Charles Ives

*Listening Guide: “The Unanswered Question,”

Aaron Copland

Listening Guide: “Fanfare for the Common Man”

Ellen Taafe Zwilich

Listening Guide: Symphony no. 1, mvt. 1
Hearing the Difference
* Beethoven’s Symphony no. 5, first movement and Zwilich’s Symphony no. 1, first movement
Summary

Chapter 35 – Musical Theater

First Hearing/Finale:

“America,” from West Side Story, Bernstein

Broadway Musicals

Leonard Bernstein

Listening Guide: “America,” from West Side Story

Later Musicals

The Live Experience
Musicals Compared to Operas
Summary

Chapter 36 – Film Music

First Hearing/Finale:

Main Title Theme from Star Wars, Williams

The Earliest Film Music

Early Sound Films

Later Film Scoring Practices

Listening Guide: Main Title Theme from Star Wars, Williams
Summary
Note: A chapter on Rock Music will be available on the Web Site for the book

Prelude – New Ideas and Styles Developed out of Twentieth-Century Internationalism

Chapter 37 – World Music

First Hearing/Finale:

“Kang Mandor” Ujang Suryana

Musical Elements in Non-Western Musics

Indonesian

- “Kang Mandor” Ujang Suryana
(3:24)

Chinese

– “Moonlight on the Ching Yang River” Yo Su-Nan, T’ang Dynasty

Indian

– * “Folk Melody based on Raga Des”

African

- “Gadzo” (“Kayiboe, The Child is not Matured”), Ewe of Ghana
Summary

Chapter 38 – Post World War II Innovations

First Hearing/Finale:

“The Banshee,” Cowell

Henry Cowell

* Listening Guide: “The Banshee”

John Cage

Listening Guide: Sonata V
Hearing the Difference
* “Kang Mandor” by Ujang Suryana and Sonata V by John Cage

Electronic Music

Edgard Varèse

Listening Guide: “Poème électronique” (excerpt)
The Live Experience
Performance Situations for Electronic Music

Terry Riley

* Listening Guide: “In C,” (excerpt) Riley
The Live Experience
* Performing in an Aleatoric Work
Summary

Chapter 39– Minimalism

First Hearing/Finale

“Company,” mvt. 2, Glass

Philip Glass

Listening Guide: “Company,” mvt. 2

Steve Reich

* Listening Guide: “Electric Counterpoint,” mvt. 3

John Adams

* Listening Guide: “Short Ride in a Fast Machine”
Summary
Characteristics of Non-Western-Influenced Music in the West

Postlude – Use Your Listening Skills on Music You Listen to Everyday

Glossary

Credits

Performance Information for the 2-CD Set

Index