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The Oxford History of Western Music College Edition,9780195097627
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The Oxford History of Western Music College Edition

by ;
ISBN13:

9780195097627

ISBN10:
0195097629
Format:
Hardcover
Pub. Date:
1/25/2012
Publisher(s):
Oxford University Press, USA
List Price: $92.74

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Summary

Based on the award-winning six-volume work by Richard Taruskin,The Oxford History of Western Music,College Edition, offers the most up-to-date and comprehensive history of Western music available. Distinctive Features * Offers aunique focus on thepeoplebehind music history * Places musical works within their larger cultural, social, and political contexts, providing atruly complete narrativeof music history * Givesfull coverage of the music of all erasalong with a special emphasis on the most studied works of the past 200 years >Improves students' critical thinkingby offering differing perspectives on how the Western musical canon developed >Buildslistening and analysis skillsthrough comprehensive discussion of key works >Includes helpfullearning and study tools(timelines, maps, musical examples and diagrams, chapter summaries, key terms, study questions, and a glossary) Offering a complete package for building your understanding and appreciation of the classical canon, this groundbreaking text is supplemented by the following resources: >Three score anthologiescontaining introductory essays by noted scholars (sold separately) >A three-volume CD set(in MP3 format) (sold separately) >A freecompanion website(www.oup.com/us/taruskin) with chapter outlines, key terms and definitions, and suggested links

Author Biography


Richard Taruskin is Class of 1955 Professor of Music at the University of California, Berkeley. He is coeditor (with Piero Weiss) of Music in the Western World: A History in Documents (Second Edition, 2007), as well as the author of Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra (1996) and Text and Act: Essays on Music and Performance (OUP, 1995).

Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College, Co-Artistic Director of the Bard Music Festival, and Associate Editor of The Musical Quarterly. He edited The Cambridge Companion to Schubert (1997), coedited Franz Liszt and His World (2006), and is the author of The Life of Schubert (2000). Gibbs is a recipient of the ASCAP Deems Taylor Award and was a fellow of the American Council of Learned Societies. Since 2000, Gibbs has served as program annotator and consulting musicologist for The Philadelphia Orchestra, where he frequently gives lectures. Gibbs also gives lectures at other orchestras, Carnegie Hall, "Great Performers" at Lincoln Center, and the Metropolitan Museum of Art.

Table of Contents


Each chapter begins with a timeline and ends with a summary, study questions, and a list of key terms.
Chapter 1: The First Literate Repertory in Western Music: Gregorian Chant
Theories of Music
Historical Imagination
Christian Beginnings, As Far As We Know Them
The Legend of St. Gregory
The Development of the Liturgy: The Offices
The Mass
Writing It Down: Neumes
Guido of Arezzo
Modal Theory
Psalmody in Practice: The Office and the Mass
The Mass
Frankish Additions to the Chant Repertory
Hymns, Tropes, and Liturgical Drama
Marian Antiphons
How to Do Polyphony
Symphonia and Its Modifications
Organum and Discant
Literate Music and the Persistence of Oral Traditions
Chapter 2: Secular and Cathedral Music in the High Middle Ages
Troubadours
Performance and Oral Culture
Music for Elites: Trobar Clus
Trouvčres
Adam de La Halle and the Formes Fixes
Geographical Diffusion
A Note on Instruments
Polyphony in Aquitanian Monastic Centers
The Cathedral-University Complex
Piecing the Evidence Together
Measured Music
Organum with Another Voice
Conductus at Notre Dame
The Motet: Music for an Intellectual and Political Elite
"Franconian" Notation
A New Trobar Clus?
The "Petronian" Motet
Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century
Music from Mathematics
Music about Music
Establishing the Prototype: The Roman de Fauvel
Isorhythm
Machaut: Poet and Musician
Musica Ficta
Machaut and the Art of Courtly Song
The Top-Down Style
Machaut's La Messe de Nostre Dame
Canons
Subtilitas
"A Pleasant Place": Trecento Vernacular Music
The "Wild Bird" Madrigals
Landini and Ballata Culture
The Motet As Political Show
Du Fay's Nuper rosarum flores
Periodization
Chapter 4: Island and Mainland: Toward a Pan-European Style
Fragmentary Remains
Kings and the Fortunes of War
Dunstable and the Contenance Angloise
Du Fay and Fauxbourdon
Du Fay and Binchois
The Internationalism of the Upper Crust
The Cyclic Mass
"Caput" and the Beginnings of Four-Part Harmony
Patterns of Emulation
The Man at Arms
"Pervading Imitation"
High, Middle, and Low
The English Keep Things High
The Milanese Go Lower Still
Love Songs
Instrumental Music Is Printed
Chapter 5: A Perfected Art: Church Polyphony in the Late Fifteenth and Sixteenth Centuries
A Poet Born, Not Made
Josquin's Career
A Model Masterpiece
Imitations
Facts and Myths
All Is Known
The "Post-Josquin" Generation
Adrian Willaert
The New Instrumental Music
Palestrina and the Ecumenical Tradition
Continuing the Tradition
Palestrina's Missa Papae Marcelli and the Bishops
Freedom and Constraint
"Stairway to Parnassus"
Alternatives to Perfection
The Recusant William Byrd
The First English Cosmopolite
The Music of Defiance
The Peak (and Limit) of Stylistic Refinement
Chapter 6: After Perfection: Pressures for Change
The Protestant Reformation
The Lutheran Chorale
The Catholic Response: The Counter-Reformation
Polychoral and "Concerted" Music
The Art of Orchestration Is Born
Music Printers and Their Audiences
Vernacular Song in Italy
The "Parisian" Chanson and the Music of Description
Lasso: The Cosmopolite Supreme
The Literary Revolution and the Return of the Madrigal
Paradox and Contradiction: Late Italian Madrigalists
Music for the Eyes
Back over the Mountains: The English Madrigal
Chapter 7: Humanism and the Birth of Opera
The Pressure of Humanism
The Representational Style
Intermedii
The Monodic Revolution
Madrigals and Arias Revisited
Favola in Musica
Operatic Conventions: Heard and Unheard Music
Monteverdi: From Court to Commerce
L'Orfeo: The Quintessential Princely Spectacle
Monteverdi in Venice
Opera and Its Politics
The Carnival Show: L'incoronazione Di Poppea
Chapter 8: Music Travels: Trends in Italy, Germany, France, and England
Master Organists: Frescobaldi, Sweelinck, and Others
Lutheran Adaptations: The Chorale Partita and Chorale Concerto
Ruin: Germany, the Thirty Years War, and Heinrich Schütz
The "Luxuriant Style"
Back to Germany at War
Giacomo Carissimi: Oratorio and Cantata
Barbara Strozzi: Performer and Composer
The French Taste: Sense and Sensuousness
Tragédie Lyrique: The Politics of Patronage
Drama as Court Ritual
Lully's Atys, the King's Opera
Jean-Philippe Rameau
Jacobean England: Masques and Consort Music
Henry Purcell's Dido and Aeneas and the Question of "English Opera"
Chapter 9: The Height of Italian Dominance: Opera Seria and the Italian Concerto Style
Opera Seria and Its Makers
Opera and Its Many Reforms: Neoclassicism
Metastasio
Metastasio's Musicians
Operatic Culture and Politics
Arcangelo Corelli and New Tonal Practices
Antonio Vivaldi's Five Hundred
Music Imitating Nature: Vivaldi's The Four Seasons
Chapter 10: Class of 1685 (I): The Instrumental Music of Bach and Handel
Careers and Lifestyles: Handel First
Bach's Career
The Chorale Prelude
The Fugue
The Well-Tempered Keyboard
Bach's Imported Roots: Froberger and Others
Bach's Suites
"Agréments" and "Doubles": The Art of Ornamentation
Stylistic Hybrids: The "Brandenburg" Concertos
The Fifth Brandenburg Concerto
Handel's Instrumental Music
Chapter 11: Class of 1685 (II): The Vocal Music of Handel and Bach
Lofty Entertainments
Handel's Messiah
"Borrowing"
Bach's Cantatas
Death Set to Music
What Music Is For
Bach's "Testaments"
Cursed Questions
Domenico Scarlatti, at Last
Chapter 12: Mid-Eighteenth-Century Stylistic Changes: From Bach's Sons to the Comic Style
The Younger Bachs
Empfindsamkeit: C. P. E. Bach
Transcending Words--And Putting Them Back
The London Bach: Johann Christian
Sociability in Music
Intermission Plays
The "War Of The Buffoons"--Giovanni Battista Pergolesi
Novels Sung on Stage-Niccolň Piccinni
Noble Simplicity--Christoph Willibald Gluck
What Was the Enlightenment?
Chapter 13: Concert Life Lifts Off: Haydn
Modern Concert Life Is Born
The Mannheim Orchestra: "An Army of Generals"
Haydn: The Perfect Career
Haydn's Years with the Esterházy Family
Expectations and Deviations: Creating Musical Meaning
String Quartets and Concertos
The Symphony Composer
Sonata Form
The "London" Symphony No. 104
The Culminating Work: The Creation
Chapter 14: The Composer's Voice: Mozart
The Early Operas
The "Da Ponte" Operas
Mozart's Two Last Operas
Art for Art's Sake?--Mozart's Symphonies
The "Symphonic" Concerto Is Born
Mozart in the Marketplace: The Piano Concertos
The Piano Concerto in G Major, K. 453
Public and Private Genres
Chapter 15: The Emergence of Romanticism
The Beautiful and the Sublime
The Coming of Museum Culture
Beethoven versus "Beethoven"
The Sacralization of Music
The Music Century
Nationalism: I, We, and They
German Musical Values as Universal Values
Chapter 16: Beethoven
Life and Works, Periods and Styles
Early Beethoven
Disaster
The Eroica
Fidelio
The Fifth Symphony and Fate
"More Expression of Feeling Than Tone Painting": The Pastoral Symphony
Concert Life in Beethoven's Vienna
Struggle and Victory
Rising Fame and Decreasing Productivity
Late Beethoven
The Ninth Symphony
Inwardness: The Late String Quartets
Chapter 17: Opera in the Age of Rossini, Bellini, Donizetti, and Weber
The Popularity of Rossini
Rossinian Conventions: The Overture
Imbroglio: The Comic Finale
Heart Throbs: The Serious Aria
Vincenzo Bellini and Bel Canto
Gaetano Donizetti
German Romantic Opera: Carl Maria von Weber's Der Freischütz
Chapter 18: Private Art: Schubert and Inwardness
The Lied Grows Up
Herder, Language, and the Nation
Folk Song, Folklore, and Folk Tales
Lyric and Ballad
Schubert and Goethe
Salon Culture and Schubertiades
Schubert: A Life in Art
Disaster
What Contemporaries Knew of Schubert's Music
Crossing the Edge
Schubert's "Unfinished" Symphony
After Beethoven
Schubert's Last Two Songs
Chapter 19: Romantic Spectacles: From Virtuosos to Grand Opera
The Devil's Violinist: Niccolň Paganini
"The Paganini of the Piano": Franz Liszt
Transforming Music Through Arrangements
The Lisztian Concert
Spectacle on the Parisian Stage
Auber's Mute
Opera and Revolution
Bourgeois Kings
Vagaries of Reception
Chapter 20: Literary Musicians
Berlioz's Literary Trinity
Berlioz's Fantastic First Symphony
Following the Idée Fixe
Discriminating Romanticisms
The Prodigious Mendelssohn
Mendelssohn's Paulus and Civic Nationalism
Nationalism Takes a Racial Turn
Schumann and Literature
Music of Letters
Schumann's Fantasie, Op. 17
Schumann's "Year of Song"
Schumann's Last Years
Genius Restrained: Fanny Mendelssohn and Clara Wieck Schumann
Chapter 21: Music Imported and Exported
Chopin's Career: From Warsaw to Paris
The Pinnacle of Salon Music
The Chopinesque Miniature
Nationalism as a Medium
America Joins In
Art and Democracy
Russia: The Newcomer
National Markings and Folk Tunes
Mikhail Glinka
Acquiring Brains and Beauty
How the Acorn Took Root
Chapter 22: Musical Politics at Midcentury: Historicism and the New German School
Historicism and the Hegelian Dialectic
The New German School
"The Music of the Future"
Absolute Music
Liszt's Symphonic Poems
But What Does It Really Mean?
The Concerto Transformed
Genre Trouble: Berlioz Again
Chapter 23: Class of 1813: Wagner and Verdi
Art and Revolution: Wagner's Early Career
The Artwork of the Future, Modeled on the Imagined Past
From Theory into Practice: The Ring of the Nibelung
Wagnerian Leitmotifs
Words, Orchestra, and Theater
The Ultimate Experience: Tristan und Isolde
How Far Can You Stretch a Dominant?
Life and Art: Beyond Good and Evil
The Last Opera: Parsifal
Verdi: Upholding the Italian Tradition
Early Verdi: The Galley Years
"Viva Verdi!": Risorgimento Politics
The Popular Style: "Va, Pensiero"
Tragicomedy in the Shakespearean Manner
Il Trovatore and La Traviata
Rigoletto: Opera as Modern Drama
A Job Becomes a Calling
Masterly Amusement: Falstaff
Chapter 24: Slavic Harmony and Disharmony
A Czech Abroad
Má Vlast
The Fate of a Tune: From Folk Song to Anthem
Competing Reputations at Home and Abroad
Slavic Disharmony
Kuchka Music
Musorgsky's Realism
Art and Autocracy
The Coronation Scene in Boris Godunov
Revising Boris Godunov
Pyotr Ilyich Tchaikovsky
Russian Symphonies
Autobiography in Music?
Chapter 25: The Musical Museum and the Return of the Symphony
New Halls and New Orchestras
The Triumph of Museum Culture
New Paths: Johannes Brahms
Symphonic Attempts
Brahm's Chamber Music and "Developing Variation"
Choral Fame
Inventing Tradition
Victory Through Critique
Reconciliation and Backlash
The Symphony as Sacrament
Antonín Dvorák
Dvorák in the New World
An American Response
War Brings Symphonies to France
Chapter 26: Dramatic Alternatives: Exoticism, Operetta, and Verismo
Stereotyping the Other: "Orientalism"
Bizet's Carmen
Russian Orientalism
Gounod's Opéra Lyrique
Jacques Offenbach and Opera about Opera
Johann Strauss II--The Waltz King and Viennese Operetta
England's Gilbert and Sullivan
Italian Verismo
Innovation and Popularity--"Canon" versus "Repertory"
Giacomo Puccini's Ascent
Chapter 27: Early Austro-German Modernism: Mahler, Strauss, and Schoenberg
The Modern Condition
Maximalism
Gustav Mahler: Conductor and Composer
Mahler's Lieder
From Symphonic Poem to First Symphony
Maximalizing the Symphony
"Down with Programs!"
The Late Works
Richard Strauss
Maximalizing Opera
Schoenberg
A New Synthesis
Expression Becomes and "ism"
"Emancipation of Dissonance"
Atonality: "The Air of Another Planet"
Erwartung
At the Opposite Extreme: Atonal Miniatures
Chapter 28: Modernism in France
Wagnerian Hommages and Exorcisms
Getting Rid of the Glue: Erik Satie
Claude Debussy's Early Years
Voiles: Sales and/or Veils
Impressionism and Symbolism
Debussy's Pelléas et Mélisande
"Essentially French": Fauré and Mélodie
Maurice Ravel
New Possibilities for Women
Ballet: A Missing Genre
Ballet Finds Its Theorist
Stravinsky's The Firebird and Petrushka
The Rite of Spring
Scandalized Reactions
Chapter 29: National Monuments
Jean Sibelius
England
Spain
Folk and Modernist Synthesis: Béla Bartók
Folk Ways
Karol Szymanowski and George Enescu
The Oldest Modernist: Leos Janácek
Speech Tunelets
Alexander Scriabin: From Expression to Revelation
Mysterium and the Ultimate Aggregate Harmonies
Charles Ives
Terms of Reception
"Manner" and "Substance": The Concord Sonata
Nostalgia
Societal Commitments
Chapter 30: Neoclassicism and Twelve-Tone Music
Neoclassicism
Igor Stravinsky's Neoclassical Path
The Music of Stravinsky's Octet
Some Ideas about the Octet
The Ivory Tower
In Search of Utopia: Schoenberg and Twelve-Tone Technique
Giving Music New Rules
Back Again to Bach
Alban Berg's Twelve-Tone Romanticism
Epitome: Anton Webern
Chapter 31: Interwar Currents: The Roaring Twenties
European "Jazz": Parisians in America
In Search of the "Real" America: Americans in Paris
Tin Pan Alley and Musicals
Gershwin's "Experiment in Modern Music"
Surrealism: Satie's Parade
New Fashions: Les Six
From Subject to Style: Surrealist "Classicism"
American Surrealism
Music in the Weimar Republic
Alban Berg's Wozzeck
Music for Political Action
From Vienna to Hollywood: The Death of Opera?
Chapter 32: Music and Totalitarianism in the Soviet Union and Western Europe
The Rise of the Soviet Union
Music in the Soviet Union
The Doctrine of Socialist Realism
Dmitry Shostakovich
Contested Readings: The Fifth Symphony
Back in the USSR: Sergey Prokofiev
Italian Fascism
Toscanini and Music-Making in the New Italy
Music in Nazi Germany
Varieties of Emigration
Youth Culture
Shades of Gray: Hartmann, Webern, and Strauss
Chapter 33: Music and Politics in America and Allied Europe
Edgard Varčse
Microtones: Splitting the Semitone
New Sounds, New Instruments, New Tunings
Ferment on the American Left
Copland and Politics
American Patriotic Works
The Great American Symphony
Accessible Alternatives
Opera in Mid-Century
Benjamin Britten
A Modern Anti-Hero: Britten's Peter Grimes
"The Composer's Duty"
Olivier Messiaen: "The Charm of Impossibilities"
Messiaen's Quartet for the End of Time
Faith, Nature, Color, and Rhythm
Chapter 34: Starting from Scratch: Music in the Aftermath of World War II
Zero Hour: The Impact on the Arts
Total Serialism: Messiaen's Mode de valeurs et d'intensités
Darmstadt
Indeterminacy: John Cage and the "New York School"
Music for Prepared Piano
Silence
"Permission": Cage's Influence
Preserving the Sacrosanct: Morton Feldman
Conversions
Academicism, American Style
Electronics: An Old Dream Comes True
Musique Concrčte, Versus Elektronische Musik
The New Technology Spreads
Electronics and Live Music
Music in History: Elliott Carter
Carter's Later Career
"Who Cares if You Listen?"
Chapter 35: Changes in the Sixties and Seventies
The Music of Youth: Rock 'n' Roll
The British Invasion: The Beatles
A New Challenge
Rock 'n' Roll Becomes Rock
The Rise of Minimalism
La Monte Young
Riley's In C
"Classical" Minimalism: Steve Reich
Phase Music
Reich's Music for 18 Musicians
Philip Glass
Einstein on the Beach
Game Changer
The Holy Minimalists
Chapter 36: "Many Streams": Millennium's End
Competing Visions
The Cold War Ends
The Postmodern Condition
Collage and Pastiche
Aesthetics of Pastiche
Across Time and Space: George Crumb
Conversions in Reverse
The End of Soviet Music
Senior Statesmen
The Digital Revolution
Performance Art
The Alleged Death of Classical Music
John Adams and Nixon in China
A New Spirituality
Notes
For Further Reading
Glossary
Index


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