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Music - The art of listening

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  • Cover Page

  • Title Page

  • Copyright Page

  • Dedication

  • The Student’s Preface

    • Attending Performances

      • Orchestral Performances

      • Other Performances

      • Form in Music

      • The Printed Program

    • How to W rite about Music

      • Different Kinds of Performance

      • Subjective Reactions

  • Preface

  • Overture

  • Contents

  • PART ONE Basic Concepts

    • 1 Sound

      • Pitch

      • Dynamics

      • Listening Example 1 Richard Strauss: Introduction to Also sprach Zarathustra (Thus Spake Zarathustra)

      • Summary

      • Critical Thinking

      • Terms to Review

      • Encore

    • 2 Rhythm

      • Tempo

      • Meter

      • Listening Example 2 Piotr Ilyich Tchaikovsky: Russian Dance(Trepak) from The Nutcracker

      • Summary

      • Critical Thinking

      • Terms to Review

      • Encore

      • Connection: Rhythm in the Music of Africa and India

    • 3 Melody

      • Melodic Types

      • Scales

      • Summary

      • Listening Example 3 Anonymous: “Amazing Grace”

      • Critical Thinking

      • Terms to Review

      • Encore

      • Connection: Melody in China and in India

    • 4 Harmony

      • Chords

      • Tonality

      • Listening Example 4 Traditional: “Shenandoah” (excerpt)

      • Consonance and Dissonance

      • Texture

      • Summary

      • Critical Thinking

      • Terms to Review

      • Encore

    • 5 Timbre

      • Vocal Timbres

      • Instruments of the Orchestra

      • Listening Example 5 Benjamin Britten: The Young Person’s Guide to the Orchestra

      • Keyboard Instruments

      • Electronic Instruments

      • Summary

      • Critical Thinking

      • Terms to Review

      • Encore

      • Connection: Music Timbres around the World

  • PART TWO Ancient Greece, the Middle Ages, The Renaissance

    • 6 The Music of Ancient Greece

      • Historical Perspective

      • Music in Greek Life

      • The Greeks’ Lasting Influence

      • Classicism versus Romanticism in Art

      • An Interrupted Legacy

      • Summary

      • Critical Thinking

      • Terms to Review

      • Connection: Extramusical Perceptions in Several Cultures

    • 7 Medieval Music

      • Historical Perspective

      • Artistic Style

      • Early Christian Music

      • Listening Example 6 Alleluia: “Pascha nostrum” from the Dominica Resurrectionis for Easter Sunday.

      • Hildegard of Bingen (1098–1179)

      • Rise of Polyphony

      • Listening Example 7 Hildegard of Bingen: “Nunc aperuit nobis”

      • Secular Music

      • The New Method

      • Listening Example 8 Anonymous: “Sumer is icumen in”

      • Music

      • Guillaume de Machaut (ca. 1300–1377)

      • Listening Example 9 Guillaume de Machaut: “Gloria” from the Missa Notre Dame

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

      • Connection: Islamic Chant

    • 8 The Renaissance: General Characteristics

      • Historical Perspective

      • Artistic Style

      • Music

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

    • 9 Sacred Music of the Renaissance

      • Renaissance Motet

      • Josquin Desprez (c. 1445–1521)

      • Renaissance Mass

      • Giovanni Pierluigi da Palestrina (c. 1524–1594)

      • Listening Example 10 Giovanni Palestrina: Agnus Dei I from Missa Papae Marcelli (Mass for Pope Marcellus)

      • Protestant Worship Music

      • Listening Example 11 Martin Luther: “Ein’ feste Burg” (“A Mighty Fortress Is Our God”)

      • Listening Example 12 Louis Bourgeois: “Old Hundred”

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 10 Secular Music in the Renaissance

      • Madrigal

      • Listening Example 13 Thomas Weelkes: “As Vesta Was from Latmos Hill Descending”

      • Instrumental Music

      • Listening example 14 "Queen Elisabeth's Gaillard" John Dowland (1563-1626)

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

  • PART THREE The Baroque (1600–1750)

    • 11 Toward the Baroque

      • Artistic Style

      • Music

      • Giovanni Gabrieli (1557–1612)

      • Listening Example 15 Giovanni Gabrieli: Sonata pian’ e forte

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 12 The Baroque: General Characteristics

      • Historical Perspective

      • Artistic Style

      • Music

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

    • 13 Dramatic Music of the Baroque

      • Claudio Monteverdi (1567–1643)

      • First and Second Practice

      • Early Opera

      • Listening Example 16 Claudio Monteverdi: “Tu se’ morta” from L’Orfeo

      • Henry Purcell (c. 1659–1695)

      • Late Baroque Opera

      • Listening Example 17 Henry Purcell: “Thy hand, Belinda, darknessshades me” (recitative) and “When I am laidin earth” (aria) from Dido and Aeneas

      • Ballad Opera

      • George Frideric Handel (1685–1759)

      • Oratorio

      • Listening Example 18 George Frideric Handel: “Hallelujah” Chorus from Messiah

      • Johann Sebastian Bach (1685–1750)

      • Cantata

      • Summary

      • Listening Example 19 Johann Sebastian Bach: Cantata no. 140, “Wachet auf” (“Sleepers Wake”), firstmovement

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 14 Baroque Instrumental Music

      • Music for Keyboards

      • Listening Example 20 Johann Sebastian Bach: Fugue in G minor(“Little” Fugue)

      • The Basso Continuo

      • Chamber Music

      • Orchestral Music

      • Antonio Vivaldi (1678–1741)

      • Listening Example 21 Antonio Vivaldi: “Spring” Concerto (from The Four Seasons), first movement

      • Listening Example 22 Johann Sebastian Bach: Brandenburg Concerto no. 2 in F major

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

  • PART FOUR: The Classical Period(1750–1820)

    • 15 Toward Classicism

      • The Rococo

      • Music

      • Listening Example 23 François Couperin: “Le tic-toc-choc” from Ordre 18

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 16 The Classical Period: General Characteristics

      • Historical Perspective

      • Artistic Style

      • Music

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

    • 17 Formal Design in the Classical Period

      • The Orchestra

      • Franz Joseph Haydn (1732–1809)

      • Wolfgang Amadeus Mozart (1756–1791)

      • Symphony

      • Listening Example 24 Wolfgang Amadeus Mozart: Symphonyno. 40 in G minor, K. 550,first movement

      • Solo Concerto

      • Listening Example 25 Wolfgang Amadeus Mozart: Concerto for Flute and Orchestra in D major, K. 314, third movement

      • Chamber Music

      • Listening Example 26 Franz Joseph Haydn: String Quartet in C major (“Emperor”), op. 76, no. 3, second movement

      • Summary

      • Listening Example 27 Wolfgang Amadeus Mozart: Eine kleine Nachtmusik (A Little Night Music), third movement

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 18 Vocal Music in the Classical Period

      • Opera

      • Listening Example 28 Giovanni Battista Pergolesi: La serva padrona (The Maid Turned Mistress), excerpt from the final duet

      • Sacred Music

      • Summary

      • Listening Example 29 Wolfgang Amadeus Mozart: “Dies Irae” from the Requiem

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

  • PART FIVE: The Age of Romanticism(1820–1910)

    • 19 Toward Romanticism

      • The Arts

      • Music

      • Ludwig van Beethoven (1770–1827)

      • Listening Example 30 Ludwig van Beethoven: Piano Sonata no. 8, op. 13 (Pathétique), first movement

      • Listening Example 31 Ludwig van Beethoven: Symphony no. 5 in C minor, first movement

      • Franz Schubert (1797–1828)

      • Listening Example 32 Schubert: “Erlkönig” (“Erlking”)

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 20 The Romantic Style: General Characteristics

      • Characteristics of Romanticism

      • Artistic Style

      • Romantic Music—an Overview

      • Summary

      • Critical Thinking

      • Term to Review

      • Key Figures

    • 21 The Romantic Style: Orchestral Music

      • Program Music

      • Listening Example 33 Hector Berlioz: Symphonie fantastique, fifth movement “Dream of a Witches’ Sabbath”

      • Absolute Music

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 22 The Romantic Style: Music for Solo Instrument and for Voice

      • Niccolò Paganini (1782–1840)

      • Piano Music

      • Listening Example 34 Niccolò Paganini: Caprice no. 1, from Twenty-Four Caprices for Solo Violin, op. 1

      • Listening Example 35 Frédéric Chopin: Nocturne in E-flat major,op. 9, no. 2

      • Listening Example 36 Frédéric Chopin: Etude no. 1, op. 10

      • German Art Songs

      • Listening Example 37 Robert Schumann: “Im wunderschönen Monat Mai” (“In the Marvelous Month of May”) from Dichterliebe (Poet’s Love)

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 23 Dramatic Music of the Romantic Period

      • Opera in France

      • Italian Romantic Opera

      • Listening Example 38 Gaetano Donizetti: “Mad Scene” from Act III of Lucia di Lammermoor

      • Listening Example 39 Giuseppe Verdi: “Celeste Aïda” (“Heavenly Aida”) from Aïda

      • Music Drama

      • Listening Example 40 Richard Wagner: “Liebestod” (“Love-Death”) from Tristan und Isolde

      • Operetta

      • Choral Music

      • Listening Example 41 Arthur Sullivan: “I am the very model of amodern major general” from The Pirates of Penzance

      • Listening Example 42 Johannes Brahms: “How Lovely IsThy Dwelling Place” from A German Requiem

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

      • Connection: Sacred Music in Other Cultures

    • 24 Music in Nineteenth-Century America

      • Music in American Life

      • Stephen Foster (1826–1864)

      • Piano Music

      • American Music Comes of Age

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

      • Connection: Song in Native American Life

  • PART SIX: Revolution and Evolution: Musicin the Twentieth Century and Beyond

    • 25 Toward a New Music

      • Richard Strauss (1864–1949)

      • Listening Example 43 Richard Strauss: Till Eulenspiegel’s Merry Pranks (Till Eulenspiegel’s lustige Streiche)

      • Gustav Mahler (1860–1911)

      • Impressionism

      • Literature

      • Painting

      • Music

      • Claude Debussy (1862–1918)

      • Listening Example 44 Claude Debussy: La cathédrale engloutie (The Sunken Cathedral) from Preludes, Book I

      • Primitivism

      • Listening Example 45 Igor Stravinsky: Excerpts from Part I of Le sacre du printemps (The Rite of Spring)

      • Igor Stravinsky (1882–1971)

      • Expressionism

      • Arnold Schoenberg (1874–1951)

      • Listening Example 46 Arnold Schoenberg: “Mondestrunken” from Pierrot lunaire

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 26 Twentieth-Century Arts: General Characteristics

      • Visual Arts

      • Music: An Overview

      • The Impact of Jazz

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figure

      • Encore

    • 27 Musical Revolutionaries

      • Twelve-Tone Technique

      • Experimentalism

      • Listening Example 47 Anton Webern: Five Pieces for Orchestra, op. 10

      • Listening Example 48 Charles Ives: “General Putnam’s Camp” from Three Places in New England

      • Listening Example 49 Henry Cowell: “The Banshee”

      • Edgard Varèse (1883–1965)

      • Electronic Music

      • Indeterminate Music

      • Listening Example 50 Milton Babbitt: Ensembles for Synthesizer (excerpt)

      • John Cage (1912–1992)

      • Listening Example 51 “Kebjar Hudjan Mas”

      • Listening Example 52 John Cage: The Perilous Night, no. 1

      • Listening Example 53 Pauline Oliveros: Sound Patterns

      • Pauline Oliveros (b. 1932)

      • Pierre Boulez (b. 1925)

      • Karlheinz Stockhausen (b. 1928)

      • Listening Example 54 Krzysztof Penderecki: Threnody for theVictims of Hiroshima

      • Krzysztof Penderecki (b. 1933)

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 28 Musical Evolutionaries

      • Les Six

      • Twentieth-Century European Nationalism

      • Béla Bartók (1881–1945)

      • Neoclassicism

      • Listening Example 55 Béla Bartók: Concerto for Orchestra, fourth movement

      • Listening Example 56 Sergei Prokofiev: Symphony no. 1 (“Classical”), first movement

      • Listening Example 57 Paul Hindemith: Kleine Kammermusik, op. 24, no. 2, first movement

      • American Nationalism

      • The Harlem Renaissance

      • Listening Example 58 Aaron Copland: Variations on “Simple Gifts” from Appalachian Spring Suite

      • Neoromanticism

      • Listening Example 59 William Grant Still: Afro-American Symphony, third movement (“Humor”)

      • Minimalism

      • Listening Example 60 Samuel Barber: Adagio for Strings

      • Women in Music

      • Summary

      • Listening Example 61 Ellen Taaffe Zwilich: Concerto Grosso 1985, first movement

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

    • 29 Music for Stage and Films

      • Opera in America

      • Listening Example 62 George Gershwin: “Bess, You Is My Woman Now” from Porgy and Bess

      • Evolution of Musicals

      • Listening Example 63 Philip Glass: Einstein on the Beach, Act IV, Scene 3, “Spaceship”

      • Listening Example 64 Leonard Bernstein: “Tonight” Act I ensemble finale from West Side Story

      • Music for Films

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

      • Connection: Dramatic Music in China and Japan

    • 30 Jazz

      • Ragtime

      • Listening Example 65 Scott Joplin: “Maple Leaf Rag”

      • Blues

      • Instrumental Jazz

      • Listening Example 66 Bessie Smith: “Lost Your Head Blues”

      • Concert Jazz

      • Listening Example 67 Charlie Parker: “Bloomdido”

      • Recent Developments

      • Summary

      • Critical Thinking

      • Terms to Review

      • Key Figures

      • Encore

      • Connection: Improvisation in Classical Indian Music

    • Postlude The New Internationalism

      • Popular Music

      • Classical Music and Musical Theater

      • The Chinese Influence

      • Listening Example 68 Tan Dun: Excerpt from “Heaven” from Symphony 1997 (Heaven, Earth,Mankind)

      • Critical Thinking

  • The Charge

  • Appendix: Chronology of Western Events

  • Glossary

  • Credits

  • Index

Nội dung

Music The Art of Listening Music t h e a r t o f l i s t e n i n g seventh edition th e a rt of listen in g M usic seventh edition FERRIS J E A N F E R R I S M D D A L IM #876541 11/01/06 C Y A N M A G Y E L O B L A C K Music t h e a r t o f l i s t e n i n g fer22130 fm i xxxviii qxd 11/9/06 4 49 AM Page i fer22130 fm i xxxviii qxd 11/9/06 4 49 AM Page ii Music t h e a r t o f l i s t e n i n g S e v e n t h E d i t i o n JEAN FERRIS Arizona State University, Tempe Boston Burr Ridge, IL Dubuque[.]

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