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Summary
More Music, a better experience. Experience Music is an innovative program that best meets the fundamental challenges of the music appreciation course. Through its thoughtful listening structure in which students experience one musical piece three times within each chapter, students develop stronger listening skills. More music means 3 CDs with all of the "featured listening" selections accompany each new text. And, more music means Connect Music, a new digital solution that streams all of the program’s selections within animated listening guides that can be paired with unique, assignable interactivities. Combined, these elements help students develop a deeper understanding that will prepare them for a lifetime of musical experiences.
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
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
Medieval Sacred Music
Gregorian Chant
Listening Guide: “Dies irae” (“Day of Wrath”), beginning section, by Anonymous
Hildegard of Bingen
MusiCurious: Medieval Nuns’ Daily Lives
Listening Guide: “O pastor animarum” (“Shepherd of Souls”), by Hildegard of Bingen
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
Hearing the Difference “Dies irae” and Machaut’s “Agnus Dei” 41
Medieval Secular Music
Improvised Accompaniment to Monophonic Songs
Listening Guide: “Tant m’abelis” (“So Much I Love”), by Berenguier de Palou
The Motet
Characteristics of Medieval Music
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
Hearing the Difference Josquin’s “Ave Maria” and Palestrina’s “Kyrie”
Renaissance Secular Music
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 64
Chapter 6 Baroque Opera
The Birth of Opera
Baroque Vocal Styles
MusiCurious: What Makes Opera Singers into International Stars
Claudio Monteverdi
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
Chapter 8 Oratorio
Featured Listening: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, seventh movement, by Johann Sebastian Bach
Johann Sebastian Bach
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
Listening Guide: “Bourree I” from Cello Suite no. 3 in C major, BWV 1009, by
Johann Sebastian Bach
MusiCurious: The King of Instruments
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, first movement, by Johann
Sebastian Bach
Solo Concerto
Antonio Vivaldi
Featured Listening: “Spring,” first movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
MusiCurious: Attending a Concert
Listening Guide: “Spring,” second movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
Listening Guide: “Spring,” third movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
Listening Guide: Symphony no. 40 in G Minor, first movement, by Wolfgang Amadeus Mozart
Hearing the Difference: Vivaldi’s “Spring,” first movement, and Mozart’s Symphony no. 40 in G Minor, first movement
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
Chapter 12 The Classical Concerto
Concerto Soloists
Double-Exposition Sonata Form
Featured Listening: Piano Concerto no. 23 in A Major, first movement, K. 488, by Wolfgang Amadeus Mozart
Hearing the Difference: Bach’s Brandenburg Concerto no. 5, first movement, and Mozart’s Piano Concerto no. 23, first 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 flute 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, first 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, first movement, by Ludwig van Beethoven
Characteristics of Classical Music
Prelude: Music of the Romantic Era
Chapter 16 Romantic Songs
The Salon
Art Song
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
MusicCurious: How Does a Composer Write a Piece of Music?
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, fifth movement, “Dream of a Witches’ Sabbath,” by Hector Berlioz
Hearing the Difference: Beethoven’s Symphony no. 5, first movement, and Berlioz’s Symphonie fantastique, fifth movement
Other Program Music
Chapter 19 Nationalism in the Romantic Era
Bedřich Smetana
Featured Listening: “The Moldau,” by Bedřich 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, first movement, by Felix Mendelssohn
Hearing the Difference: Vivaldi’s “Spring,” first movement, and Mendelssohn’s Violin Concerto, first 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 BrahmsAntonín Dvořák
Featured Listening: From the New World, Symphony no. 9 in E Minor, fourth movement, by Antonín Dvořák
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
Hearing the Difference: Mozart’s “Non più andrai” and Puccini’s “Si, mi chiamano Mimì”
Listening Guide: “Sì, mi chiamano Mimì” (“Yes, They Call Me Mimi”) from La Bohème, by Giacomo Puccini
Chapter 25 Romantic German Opera
Richard Wagner
MusiCurious: Opera Productions
Featured Listening: “Grane, mein Ross!” (“Grane, my horse!”) and finale 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
Hearing the Difference: Smetana’s “The Moldau” and Debussy’s Prélude à L’après-midi d’un faune
Maurice Ravel
Chapter 27 Primitivism and Neoclassicism
Primitivism
Igor Stravinsky
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
MusiCurious: Music for Ballet
Neoclassicism
Listening Guide: Concerto in E-Flat Major, the Dumbarton Oaks Concerto, first movement, by Igor Stravinsky
Chapter 28 Eastern European Nationalism
Béla BartókFeatured Listening: Concerto for Orchestra, fourth movement, “Interrupted
Intermezzo,” by Béla Bartók
Chapter 29 Germanic Expressionism and the Development of Serialism
Arnold Schoenberg
Featured Listening: “Der Mondfleck” (“Moonfleck”), no. 18, from Pierrot Lunaire (Moonstruck Pierrot), by Arnold Schoenberg
MusiCurious: How is it Great Art if it is Ugly?
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