What is included with this book?
Listening Exercises | p. xiii |
Boxes | p. xiv |
About the Author | p. xv |
About the Cover | p. xvi |
Preface | p. xvii |
The Elements of Music | p. 1 |
Listening to Music | p. 2 |
How Musical Sound and Sound Machines Work | p. 2 |
Music and the Brain | p. 3 |
Listening to Whose Music? | p. 4 |
Classical Music-Popular Music | p. 4 |
Why Listen to Classical Music? | p. 5 |
Classical Music All Around You | p. 5 |
Attending a Classical Concert | p. 6 |
Learning to Be a Good Listener | p. 7 |
Getting Started: Three Musical Beginnings | p. 7 |
Ludwig van Beethoven, Symphony No. 5 in C minor-Opening | p. 7 |
Listening Guide: Beethoven, Symphony No. 5 in C minor | p. 9 |
Peter Tchaikovsky, Piano Concerto No. 1-Opening | p. 9 |
Listening Guide: Tchaikovsky, Piano Concerto No. 1 | p. 10 |
Richard Strauss, Also Sprach Zarathustra (Thus Spoke Zarathustra)-Opening | p. 10 |
Listening Guide: Strauss, Thus Spoke Zarathustra | p. 11 |
Key Words | p. 13 |
Rhythm | p. 13 |
Rhythm and Rhythmic Notation | p. 14 |
Meter | p. 16 |
Hearing Meters | p. 17 |
Syncopation | p. 19 |
Tempo | p. 19 |
Rhythm and Rap | p. 20 |
Key Words | p. 21 |
Melody | p. 22 |
Pitch | p. 22 |
The Octave | p. 22 |
Notating Melodies | p. 23 |
Tonality, Keys, and Scales | p. 26 |
Modulation | p. 27 |
Hearing Major and Minor | p. 27 |
Chromatic Scale | p. 29 |
Melodic Structure | p. 29 |
Hearing Melodies and Phrases | p. 31 |
Key Words | p. 32 |
Harmony | p. 33 |
Building Harmony | p. 33 |
Consonance and Dissonance | p. 35 |
Hearing the Harmony Change | p. 35 |
The Twelve-Bar Blues Harmony Then and Now | p. 37 |
Key Words | p. 38 |
Dynamics and Color | p. 38 |
Dynamics | p. 39 |
Color | p. 39 |
The Voice | p. 40 |
Musical Instruments | p. 40 |
Listening Guide: Instruments of the Orchestra: Strings | p. 43 |
Listening Guide: Instruments of the Orchestra: Woodwinds | p. 44 |
Listening Guide: Instruments of the Orchestra: Brasses | p. 46 |
Listening Guide: Instruments of the Orchestra: Percussion | p. 47 |
Key Words | p. 51 |
Musical Texture and Form | p. 52 |
Monophonic, Polyphonic, and Homophonic Textures | p. 52 |
Listening Guide: Handel, Messiah, "Hallelujah" chorus | p. 54 |
Form | p. 55 |
Five Favorite Musical Forms | p. 56 |
Listening Guide: Brahms, Lullaby | p. 56 |
Listening Guide: Mozart, Variations on Twinkle, Twinkle, Little Star | p. 57 |
Listening Guide: Haydn, Symphony No. 94, 2nd movement | p. 58 |
Listening Guide: Tchaikovsky, "Dance of the Reed Pipes" | p. 58 |
Listening Guide: Mouret, Rondeau | p. 59 |
Key Words | p. 60 |
Musical Style | p. 61 |
Key Word | p. 61 |
Checklists of Musical Style by Periods | p. 61 |
The Middle Ages and Renaissance, 476-1600 | p. 68 |
Medieval Music, 476-1475 | p. 70 |
Music in the Monastery | p. 70 |
Gregorian Chant | p. 70 |
Listening Guide: Anonymous, All the Ends of the Earth | p. 71 |
The Gregorian Chant of Hildegard of Bingen (1098-1179) | p. 71 |
Listening Guide: Hildegard of Bingen, O Greenest Branch | p. 73 |
Music in the Cathedral | p. 73 |
Notre Dame of Paris | p. 74 |
Leoninus: Organum, All the Ends of the Earth | p. 74 |
Chant at the Top of the Charts | p. 75 |
Listening Guide: Leoninus, All the Ends of the Earth | p. 75 |
Notre Dame of Reims | p. 76 |
Machaut, Mass of Our Lady | p. 76 |
Musical Portions of the Mass | p. 77 |
Listening Guide: Machaut, Mass of Our Lady, Kyrie | p. 78 |
Music at the Court | p. 78 |
Music at the Forefront of Science | p. 79 |
Troubadours and Trouveres | p. 79 |
Listening Guide: Countess of Dia, I Must Sing | p. 80 |
Music at the Court of Burgundy | p. 81 |
Listening Guide: Dufay, This Month of May | p. 82 |
Medieval Musical Instruments | p. 83 |
Listening Guide: Anonymous, The Spanish Tune | p. 84 |
Key Words | p. 84 |
Checklist of Musical Style | p. 84 |
Renaissance Music, 1475-1600 | p. 85 |
Music Becomes a Fine Art | p. 86 |
Josquin Desprez (c 1455-1521) and the Renaissance Motet | p. 87 |
Listening Guide: Josquin, Ave Maria | p. 90 |
The Counter-Reformation and Palestrina (1525-1594) | p. 91 |
Male Choirs | p. 92 |
Female Choirs in Convents | p. 93 |
Listening Guide: Palestrina, Sanctus | p. 94 |
Popular Music in the Renaissance | p. 95 |
The Madrigal | p. 95 |
Listening Guide: Weelkes, As Vesta Was from Latmos Hill Descending | p. 97 |
Key Words | p. 98 |
Checklist of Musical Style | p. 98 |
The Baroque Period, 1600-1750 | p. 100 |
Introduction to Baroque Art and Music | p. 102 |
Baroque Architecture and Music | p. 102 |
Baroque Painting and Music | p. 104 |
Characteristics of Baroque Music | p. 105 |
Expressive Melody | p. 105 |
The Basso Continuo | p. 105 |
Elements of Baroque Music | p. 107 |
Melody | p. 107 |
Harmony | p. 108 |
Rhythm | p. 108 |
Texture | p. 108 |
Dynamics | p. 108 |
Key Words | p. 109 |
Early Baroque Vocal Music | p. 109 |
Opera | p. 109 |
Claudio Monteverdi (1567-1643) | p. 110 |
Listening Guide: Monteverdi, Orfeo, Toccata | p. 112 |
Listening Guide: Monteverdi, Orfeo, "At the bitter news" and "Thou art dead" | p. 113 |
Listening Guide: Monteverdi, Orfeo, "Powerful spirit" | p. 114 |
Chamber Cantata | p. 114 |
Barbara Strozzi: Professional Composer | p. 115 |
Listening Guide: Strozzi, "I want to die" | p. 116 |
Opera in London | p. 117 |
Henry Purcell (1659-1695) | p. 117 |
Listening Guide: Purcell, Dido and Aeneas, "When I am laid in earth" | p. 119 |
Elton John and Basso Ostinato | p. 121 |
Key Words | p. 121 |
Middle Baroque Instrumental Music | p. 121 |
The Baroque Orchestra | p. 122 |
Orchestral Overture | p. 123 |
Jean-Baptiste Lully, (1632-1687) | p. 124 |
Listening Guide: Lully Overture to Armide | p. 124 |
Solo Sonata and Trio Sonata | p. 125 |
Arcangelo Corelli (1653-1713) | p. 125 |
The Baroque Violin | p. 116 |
Listening Guide: Corelli, Trio Sonata in C major | p. 127 |
The Baroque Concerto | p. 128 |
Antonio Vivaldi (1678-1741) | p. 128 |
The Hospice of Mercy: Convent and Concert Hall | p. 129 |
Listening Guide: Vivaldi, Violin Concerto in E major, 1st movement | p. 131 |
Key Words | p. 133 |
Checklist of Musical Style | p. 133 |
The Late Baroque: Bach | p. 134 |
Aspects of Late Baroque Musical Style | p. 134 |
Johann Sebastian Bach (1685-1750) | p. 135 |
Fugue | p. 135 |
Listening Guide: Bach, Organ Fugue in G minor | p. 137 |
Bach's Orchestral Music | p. 139 |
Listening Guide: Bach, Brandenburg Concerto No. 5 in D major, 1st movement | p. 140 |
The Church Cantata | p. 141 |
What Did Mrs. Bach Do? | p. 143 |
Listening Guide: Bach, Awake, a Voice Is Calling, 1st movement | p. 144 |
Listening Guide: Bach, Awake, a Voice Is Calling, 4th movement | p. 146 |
Listening Guide: Bach, Awake, a Voice Is Calling, 7th movement | p. 148 |
Bach's Bones | p. 149 |
Key Words | p. 149 |
The Late Baroque: Handel | p. 150 |
George Frideric Handel (1685-1759) | p. 150 |
Handel and the Orchestral Dance Suite | p. 151 |
Listening Guide: Handel, Water Music, Minuet and Trio | p. 152 |
Handel and Opera | p. 153 |
Handel and Oratorio | p. 153 |
The Theatrical Quality of Baroque Art | p. 154 |
Listening Guide: Handel, Messiah, "Rejoice greatly" | p. 156 |
Listening Guide: Handel, Messiah, "Hallelujah" chorus | p. 157 |
Key Words | p. 160 |
Checklist of Musical Style | p. 160 |
The Classical Period, 1750-1820 | p. 162 |
Classical Style | p. 164 |
The Enlightenment | p. 164 |
Music and Social Change: Comic Opera | p. 165 |
Public Concerts | p. 166 |
The Advent of the Piano | p. 166 |
Elements of Classical Style | p. 167 |
Melody | p. 167 |
Harmony | p. 168 |
Rhythm | p. 168 |
Texture | p. 168 |
Classical Style in Painting | p. 169 |
The Dramatic Quality of Classical Music | p. 169 |
An Example of Classical Style | p. 170 |
Listening Guide: Mozart, The Marriage of Figaro, "If you want to dance" | p. 171 |
Key Words | p. 171 |
Classical Composers: Haydn and Mozart | p. 173 |
Vienna: A City of Music | p. 173 |
Franz Joseph Haydn (1732-1809) | p. 174 |
Wolfgang Amadeus Mozart (1756-1791) | p. 176 |
What's a Genius? Was Mozart a Musical Genius? | p. 177 |
Mozart and Amadeus | p. 178 |
Key Words | p. 179 |
Classical Forms: Ternary and Sonata-Allegro | p. 179 |
Ternary Form | p. 180 |
Minuet and Trio | p. 181 |
Listening Guide: Mozart, A Little Night Music, 3rd movement | p. 183 |
Listening Guide: Haydn, Symphony No. 94, the "Surprise," 3rd movement | p. 183 |
Sonata-Allegro Form | p. 184 |
The Shape of Sonata-Allegro Form | p. 185 |
Hearing Sonata-Allegro Form | p. 187 |
Listening Guide: Mozart, A Little Night Music, 1st movement | p. 188 |
Listening Guide: Mozart, Don Giovanni, Overture | p. 189 |
Key Words | p. 191 |
Classical Forms: Theme and Variations, Rondo | p. 191 |
Theme and Variations | p. 191 |
Mozart: Variations on Twinkle, Twinkle, Little Star | p. 192 |
Haydn: Symphony No. 94 (the "Surprise" Symphony), 2nd movement | p. 193 |
Listening Guide Haydn, Symphony No. 94, the "Surprise," 2nd movement | p. 194 |
Rondo Form | p. 195 |
Mozart: Horn Concerto in E[Characters not reproducible] major, K. 495, 3rd movement (finale) | p. 196 |
Listening Guide: Mozart, Horn Concerto in E[Characters not reproducible] major, 3rd movement | p. 196 |
A Rondo by Sting | p. 198 |
Form, Mood, and the Listener's Expectations | p. 199 |
Key Words | p. 199 |
Classical Genres: Instrumental Music | p. 200 |
The Symphony and the Symphony Orchestra | p. 200 |
The Classical Symphony Orchestra | p. 201 |
Mozart: Symphony No. 40 in G minor, K. 550 | p. 202 |
Listening Guide: Mozart, Symphony No. 40 in G minor, 1st movement | p. 204 |
The String Quartet | p. 206 |
Haydn: Opus 76, No. 3, the "Emperor" Quartet (1797) | p. 207 |
Listening Guide: Haydn, String Quartet, the "Emperor," 2nd movement | p. 208 |
The Sonata | p. 209 |
The Concerto | p. 210 |
Mozart: Piano Concerto in A major (1786), K. 488 | p. 211 |
Barbara Ployer: Concert Pianist | p. 212 |
Listening Guide: Mozart, Piano Concerto in A major, 1st movement | p. 212 |
Key Words | p. 214 |
Classical Genres: Vocal Music | p. 214 |
Classical Opera | p. 215 |
Mozart and Opera | p. 215 |
Mozart: Don Giovanni (1787), K. 527 | p. 215 |
Lorenzo Da Ponte: Librettist to Mozart | p. 216 |
Listening Guide: Mozart, Don Giovanni, Act I, Scene 1 | p. 217 |
Listening Guide: Mozart, Don Giovanni, Act I, Scene 7 | p. 219 |
Key Words | p. 222 |
Beethoven: Bridge to Romanticism | p. 222 |
Beethoven's Music | p. 222 |
The Early Years (1770-1802) | p. 223 |
Piano Sonata, Opus 13, the "Pathetique" Sonata | p. 224 |
Listening Guide: Beethoven, Piano Sonata, Opus 13, the "Pathetique" | p. 225 |
Beethoven Becomes Deaf | p. 227 |
Music and Suffering | p. 228 |
The "Heroic" Period (1803-1813) | p. 228 |
Symphony No. 3 in E[Characters not reproducible] major ("Eroica") | p. 229 |
Symphony No. 5 in C minor | p. 229 |
Listening Guide: Beethoven, Symphony No. 5 in C minor, 1st movement | p. 232 |
Listening Guide: Beethoven, Symphony No. 5 in C minor, 2nd movement | p. 235 |
Listening Guide: Beethoven, Symphony No. 5 in C minor, 3rd movement | p. 237 |
Listening Guide: Beethoven, Symphony No. 5 in C minor, 4th movement | p. 238 |
The Final Years (1814-1827) | p. 239 |
Epilogue: Beethoven and the Nineteenth Century | p. 240 |
Key Words | p. 241 |
Checklist of Musical Style | p. 241 |
Romanticism, 1820-1900 | p. 242 |
Introduction to Romanticism | p. 244 |
Romantic Inspiration, Romantic Creativity | p. 244 |
The Musician as "Artist," Music as "Art" | p. 245 |
Lord Byron's Childe Harold's Pilgrimage | p. 246 |
Romantic Ideals and Today's Concert Hall | p. 247 |
The Style of Romantic Music | p. 247 |
Romantic Melody | p. 247 |
Colorful Harmony | p. 248 |
Romantic Tempo: Rubato | p. 249 |
Romantic Forms: Monumental and Miniature | p. 249 |
Expressive Tone Colors, Greater Size, Greater Volume | p. 250 |
The Romantic Orchestra | p. 250 |
The Conductor | p. 251 |
The Growth of the Symphony Orchestra | p. 252 |
The Virtuoso | p. 253 |
Coda | p. 254 |
Key Words | p. 255 |
Early Romantic Musk: The Art Song | p. 255 |
The Art Song | p. 255 |
Franz Schubert (1797-1828) | p. 256 |
Listening Guide: Schubert, Erlking | p. 259 |
Robert Schumann (1810-1856) | p. 261 |
Listening Guide: R. Schumann "Dedication" from Myrtles | p. 263 |
Clara Wieck Schumann (1819-1896) | p. 263 |
Where Were the Women? | p. 264 |
Listening Guide: C. Schumann, "If You Love for Beauty" | p. 265 |
Lives of Tragedy and Fidelity | p. 265 |
Key Words | p. 267 |
Early Romantic Music: Program Music | p. 267 |
Hector Berlioz (1803-1869) | p. 268 |
Symphonic fantastique | p. 269 |
The Real End of the Program | p. 273 |
Listening Guide: Berlioz, Symphonie fantastique, 5th movement | p. 273 |
Felix Mendelssohn (1809-1847) | p. 275 |
Overture to A Midsummer Night's Dream | p. 276 |
Listening Guide: Mendelssohn Overture to A Midsummer Night's Dream | p. 277 |
Key Words | p. 278 |
Early Romantic Music: Piano Music | p. 278 |
Frederic Chopin (1810-1849) | p. 279 |
Mazurka in B[Characters not reproducible] major, Opus 7, No. 1 | p. 280 |
Listening Guide: Chopin, Mazurka in B[Characters not reproducible] major, Opus 7, No. 1 | p. 280 |
Nocturne in C# minor, Opus 27, No. 1 | p. 281 |
Listening Guide: Chopin, Nocturne in C# minor, Opus 27, No. 1 | p. 282 |
Franz Liszt (1811-1886) | p. 283 |
Transcendental Etude No. 8, "Wilde Jagd" ("Wild Hunt") | p. 285 |
Listening Guide: Liszt, Transcendental Etude No. 8, "Wild Hunt" | p. 286 |
Key Words | p. 286 |
Romantic Opera: Italy | p. 287 |
Italian Bel Canto Opera | p. 287 |
Giuseppe Verdi (1813-1901) | p. 288 |
Verdi's Dramaturgy and Musical Style | p. 290 |
La traviata (1853) | p. 290 |
Listening Guide: Verdi, La traviata, Act I, Scene 4 | p. 291 |
Listening Guide: Verdi, La traviata, Act I, Scene 6 | p. 292 |
Key Words | p. 294 |
Romantic Opera: Germany | p. 295 |
Richard Wagner (1813-1883) | p. 295 |
Wagner's "Music Dramas" | p. 297 |
Tristan und Isolde (1865) | p. 298 |
Leitmotifs in Star Wars | p. 300 |
Listening Guide: Wagner, Liebestod, from Tristan und Isolde | p. 300 |
Key Words | p. 302 |
Nineteenth-Century Realistic Opera | p. 303 |
Georges Bizet's Carmen (1875) | p. 304 |
Carmen from Flop to Hip-Hop | p. 305 |
Listening Guide: Bizet, Habanera from Carmen | p. 305 |
Giacomo Puccini's La boheme (1896) | p. 307 |
Listening Guide: Puccini, Aria from La boheme | p. 308 |
Key Words | p. 309 |
Music and Nationalism | p. 309 |
Russian Nationalism: Modest Musorgsky (1839-1881) | p. 310 |
Pictures at an Exhibition (1874) | p. 310 |
Listening Guide: Musorgsky, Pictures at an Exhibition | p. 312 |
Czech Nationalism: Antonin Dvorak (1841-1904) | p. 314 |
Listening Guide: Dvorak, Furiant from Slavonic Dances, Opus 46 | p. 316 |
Key Words | p. 316 |
Late Romantic Orchestral Music | p. 316 |
The Late Romantic Symphony | p. 317 |
Johannes Brahms (1833-1897) | p. 317 |
Symphony No. 2 in D major (1877) | p. 319 |
Listening Guide: Brahms, Symphony No. 2 in D major, 3rd movement | p. 319 |
The Symphonic Poem | p. 320 |
Peter Tchaikovsky (1840-1893) | p. 320 |
Symphonic Poem, Romeo and Juliet (1869; revised 1880) | p. 321 |
Listening Guide: Tchaikovsky, Romeo and Juliet | p. 323 |
The Orchestral Song | p. 324 |
Gustav Mahler (1860-1911) | p. 324 |
Orchestral Song, I Am Lost to the World, from the Five Ruckert Songs (1901-1902) | p. 326 |
Listening Guide: Mahler, I Am Lost to the World | p. 327 |
Key Words | p. 327 |
Checklist of Musical Style | p. 328 |
Modern and Postmodern Art Music, 1880-Present | p. 330 |
Impressionism | p. 332 |
Impressionism in Painting and Music | p. 332 |
Claude Debussy (1862-1918) | p. 333 |
Prelude to The Afternoon of a Faun (1894) | p. 334 |
Listening Guide: Debussy, Prelude to The Afternoon of a Faun | p. 336 |
Preludes for Piano (1910, 1913) | p. 338 |
Listening Guide: Debussy, Voiles, from Preludes, Book I | p. 340 |
Key Words | p. 341 |
Checklist of Musical Style | p. 341 |
Exoticism | p. 342 |
The Exotic of China: Puccini's Turandot (1924) | p. 343 |
Listening Guide: Puccini, "People of Peking," from Turandot | p. 344 |
Listening Guide: Puccini, "Lord, please listen!" from Turandot | p. 345 |
Listening Guide: Puccini, "Hello, Pang! Hello, Pong!" from Turandot | p. 346 |
The Exotic of Spain: Ravel's Bolero (1928) | p. 347 |
Listening Guide: Ravel, Bolero | p. 349 |
Key Words | p. 350 |
Modernism in Music and the Arts | p. 351 |
Modernism: An Anti-Romantic Movement | p. 351 |
Early-Twentieth-Century Musical Style | p. 353 |
Melody: More Angularity and Chromaticism | p. 353 |
Harmony: The "Emancipation of Dissonance," New Chords, New Systems | p. 354 |
Rhythm: New Asymmetrical Rhythms and Irregular Meters | p. 355 |
Tone Color: New Sounds from New Sources | p. 355 |
Key Words | p. 356 |
Early-Twentieth-Century Modernism | p. 357 |
Igor Stravinsky (1882-1974) | p. 357 |
Le Sacre du Printemps (The Rite of Spring, 1913) | p. 358 |
Listening Guide: Stravinsky, The Rite of Spring, Introduction and Scene 1 | p. 362 |
Arnold Schoenberg and the Second Viennese School | p. 363 |
Expressionism and Atonality | p. 364 |
Pierrot Lunaire (Moonstruck Pierrot, 1912) | p. 364 |
Listening Guide: Schoenberg, Moonstruck Pierrot, Number 6, Madonna | p. 366 |
Schoenberg's Twelve-Tone Music | p. 366 |
Trio from Suite for Piano (1924) | p. 367 |
Listening Guide: Schoenberg, Trio from Suite for Piano | p. 367 |
Key Words | p. 368 |
Russian and Eastern European Modernism | p. 369 |
Sergey Prokofiev (1891-1953) | p. 370 |
Classical Symphony (1917) | p. 370 |
Listening Guide: Prokofiev, Classical Symphony, 1st movement | p. 371 |
Dmitri Shostakovich (1906-1975) | p. 372 |
Symphony No. 5 (1937) | p. 372 |
Listening Guide: Shostakovich, Symphony No. 5, 4th movement | p. 373 |
Bela Bartok (1881-1945) | p. 374 |
Concerto for Orchestra (1943) | p. 375 |
Listening Guide: Bartok, Concerto for Orchestra, 4th movement | p. 377 |
Key Words | p. 377 |
Three American Voices | p. 378 |
Charles Ives (1874-1954) | p. 378 |
Ives's Music | p. 379 |
Putnam's Camp, Redding, Connecticut from Three Places in New England (c1908-1914) | p. 379 |
Listening Guide: Ives, Putnam's Camp, Redding, Connecticut, 2nd movement | p. 381 |
Aaron Copland (1900-1990) | p. 382 |
Copland's Music | p. 383 |
Appalachian Spring (1944) | p. 383 |
Listening Guide: Copland, Appalachian Spring, Sections 1, 2, and 7 | p. 385 |
Ellen Taaffe Zwilich (1939-) | p. 387 |
Listening Guide: Zwilich, Concerto Grosso 1985, 3rd movement | p. 388 |
Key Words | p. 389 |
Postmodernism | p. 389 |
Edgard Varese and Electronic Music (1883-1965) | p. 390 |
Poeme electronique (1958) | p. 391 |
Electronic Music: From Varese to Radiohead | p. 392 |
Listening Guide: Varese, Poeme electronique | p. 392 |
John Cage (1912-1992) and Chance Music | p. 393 |
4[prime]33[Prime] (1952) | p. 395 |
Listening Guide: Cage, 4[prime]33[Prime] | p. 395 |
John Adams (1947-) and Minimalism | p. 395 |
Short Ride in a Fast Machine (1986) | p. 397 |
Listening Guide Adams, Short Ride in a Fast Machine | p. 397 |
Tan Dun (1957-) and Globalization | p. 398 |
Marco Polo (1996) | p. 399 |
Listening Guide: Tan, Marco Polo | p. 399 |
Key Words | p. 400 |
Checklist of Musical Style | p. 400 |
Glossary | p. 402 |
Index | p. 411 |
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