MusicHolt, Rinehart and Winston, 1975 - 512 pages |
Contents
PREFACE xiii | 11 |
MUSICAL TIME | 11 |
metrical metersphysical responses to asymmetrical meters | 14 |
Our ordinary perception of tonality for example in folk melodies | 25 |
MELODY | 38 |
tiethcentury music | 45 |
How harmony elicits emotional responses for example in opera | 53 |
CONTENTS | 60 |
INTRODUCTION | 266 |
FRANZ SCHUBERT | 278 |
ROBERT SCHUMANN | 285 |
The composer as Romantic hero The song cycle What to listen for in Dichterliebe | 291 |
Mendelssohns historical importance What to listen for in the Violin Concerto in | 297 |
JOHANNES BRAHMS | 305 |
Responses to Tchaikovsky What to listen for in Romeo and Juliet in the Symphony | 312 |
TWO His historical importance the Russian Five the special sound of Mussorgsky | 323 |
CONTENTS | 66 |
MUSIC AND THE VISUAL ARTS PRINCIPLES | 78 |
HOW TO LISTEN TO SECTIONAL FORMS | 86 |
Optional LISTENING EXPERIENCES appear at the end of this unit | 93 |
Our perception of musical form as demonstrated in the earlier units Sonataform | 101 |
them with examples from Dies Irae and Alma Redemptoris Styles of plainchant | 127 |
How to listen to polyphonic music | 131 |
The cultural meaning of Renaissance The Renaissance sound in music imitation | 140 |
CLÉMENT JANEQUIN | 153 |
TWO UNIT 21 CLAUDIO MONTEVERDI | 168 |
ANTONIO VIVALDI | 180 |
JOHANN SEBASTIAN BACH | 191 |
Bachs importance his musical development What to listen for in Brandenburg | 198 |
INTRODUCTION | 206 |
The mideighteenthcentury attitude Patronage relationships The meaning of | 212 |
FRANZ JOSEF HAYDN | 220 |
WOLFGANG AMADEUS MOZART | 228 |
Boris Godunov problems of revision in and reorchestration What to listen | 329 |
Mahler as a postRomantic composer the scope of his work What to listen | 336 |
Optional LISTENING EXPERIENCES appear at the end of this chapter | 345 |
CONTEMPORARY AMERICAN DANCE | 354 |
CLAUDE DEBUSSY | 362 |
IGOR STRAVINSKY | 371 |
Stravinsky as the revolutionary artist What to listen for in Le Sacre du printemps | 380 |
GEORGE GERSHWIN | 391 |
MILTON BABBITT | 406 |
Audience reaction to Cage His percussive writingthe influence of EDGARD | 419 |
INTRODUCTION | 440 |
Popular music in perspective Folk music AngloAmerican folk music Afro | 468 |
NONWESTERN MUSIC | 476 |
Optional LISTENING EXPERIENCES appear at the end of this unit along with recording | 483 |
THE PLEASURES OF LISTENING | 498 |
CREDITS | 507 |
Copyright | |