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| Listening Examples | |
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| Online Listening Examples | |
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| Preface | |
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| Introduction | |
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| Prelude: Basic Properties of Musical Sound | |
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| The Elements of Music | |
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| Rhythm | |
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| Meter | |
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| Melody | |
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| Harmony | |
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| Timbre | |
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| Form | |
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| Music Notation | |
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| Elements of an American Sound | |
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| How to Improve Your Listening Skills | |
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| trad.: "John Henry" | |
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| Terms to Review | |
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| Critical Thinking | |
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| Music in Early North America | |
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| The Early Years: Historical and Cultural Perspective | |
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| The Beginnings of Music in America | |
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| Native Americans | |
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| European Emigrants | |
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| Puritan Society | |
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| The African Experience in Early America | |
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| Revolution, in Classical Style | |
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| Painting in Eighteenth-Century America | |
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| North American Indian Music | |
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| Songs | |
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| Texture | |
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| Texts | |
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| Yeibichai Chant Song (excerpt) | |
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| Sioux Grass Dance | |
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| Sioux Grass Dance (excerpt) | |
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| Sound Instruments | |
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| Contemporary Indian Song | |
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| Professional Musicians | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Early Folk Music | |
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| Spanish Traditions | |
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| Alabados | |
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| Corridos | |
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| Anonymous, "El corrido de Gregorio Cortez" | |
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| British Traditions | |
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| Folk Ballads | |
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| Anonymous, "Barbara Allen" | |
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| Early American Folk Music | |
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| Anonymous, "Shenandoah" | |
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| African Traditions | |
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| Field Hollers | |
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| Ring Shouts | |
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| Field Holler | |
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| Father's Field Call | |
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| "Hammer, Ring" (excerpt) | |
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| Freedom Songs | |
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| Musical Instruments | |
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| "No More Auction Block for Me" | |
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| What of African Music Survives Today? | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Religious Music in the Colonial, Revolutionary, and Federal Periods | |
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| Music at the Spanish Missions | |
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| Psalm Tunes | |
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| Psalters | |
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| "Old Hundred" (excerpt) | |
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| Other Protestant Music | |
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| "'Tis the Gift to Be Simple" | |
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| German-Speaking Protestant Sects | |
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| The Great Awakening | |
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| Early Efforts at Musical Reform | |
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| The Singing School Movement | |
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| William Billings (1746-1800) | |
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| "Chester" | |
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| Canons | |
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| "When Jesus Wept" | |
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| Fuging Tunes | |
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| "Sherburne" | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Secular Music in the Colonial, Revolutionary, and Federal Periods | |
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| Music in Everyday Experience | |
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| Prestigious Musical Amateurs | |
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| Early American Theater | |
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| Early Bands | |
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| Anonymous, "Yankee Doodle" (excerpt) | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 1 Summary | |
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| The Tumultuous Nineteenth Century | |
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| Romanticism in America: Historical and Cultural Perspective | |
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| The Emergence of Characteristically American Art | |
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| Independence | |
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| The Unknown | |
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| Love of Nature | |
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| Fusion of the Arts | |
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| The Civil War Era | |
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| Music | |
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| Religious Music in the Early Nineteenth Century | |
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| The Great Revival | |
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| Shape-Note Notation | |
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| Spiritual Songs | |
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| "Amazing Grace" | |
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| Black Spirituals | |
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| "There'll Be Joy, Joy, Joy" (excerpt) | |
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| Anonymous, "Amazing Grace" | |
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| Anonymous, "Nobody Knows the Trouble I've Seen" (excerpt) | |
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| Spirituals As Concert Music | |
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| Singing Conventions | |
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| Further Movements to Reform Music | |
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| Lowell Mason | |
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| "Nearer, My God, to Thee" | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Popular Music of the Civil War Era | |
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| Minstrelsy | |
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| "I Wish I Was in Dixie's Land" | |
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| James A. Bland (1854-1911) | |
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| The Heritage of Minstrelsy | |
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| Stephen Foster (1826-1864) | |
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| "I Dream of Jeanie with the Light Brown Hair" | |
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| "Oh! Susanna" | |
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| Patriotic Songs | |
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| "The Anacreontick Song" | |
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| Civil War Songs | |
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| Singing Families | |
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| Anonymous, "Get Off the Track" | |
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| Concert Bands | |
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| Patrick Sarsfield Gilmore (1829-1892) | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Concert Music | |
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| Orchestral Music | |
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| Theodore Thomas (1835-1905) | |
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| Romantic Virtuosos | |
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| Louis Moreau Gottschalk (1829-1869) | |
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| Piano Music | |
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| "Le bananier" | |
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| Rise of Nationalism in Music | |
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| Second New England School | |
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| John Knowles Paine (1839-1906) | |
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| Fuga giocosa, op. 41, no. 3 | |
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| Amy Marcy Cheney Beach (1867-1944) | |
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| Symphony in E minor (Gaelic), 2nd movement | |
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| Edward MacDowell (1860-1908) | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 2 Summary | |
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| The Growth of Vernacular Traditions | |
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| Music in the Vernacular: Historical and Cultural Perspective | |
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| Vernacular Art and Literature | |
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| Vernacular Music | |
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| The Rise of Popular Culture | |
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| John Philip Sousa (1854-1932) | |
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| Marches | |
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| "The Stars and Stripes Forever" | |
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| Ragtime | |
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| Scott Joplin (1868-1917) | |
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| "Maple Leaf Rag" | |
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| Influence of Ragtime | |
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| Tin Pan Alley | |
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| The Songs | |
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| Barbershop Singing | |
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| "Rose" ("A Ring to the Name of Rose") | |
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| Irving 32. Irving Berlin, "Alexander's Ragtime Band" | |
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| Jerome Kern (1885-1945) | |
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| Cole Porter (1892-1964) | |
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| "Night and Day" | |
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| George Gershwin (1898-1937) | |
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| Decline of Tin Pan Alley | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| The Jazz Age | |
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| Blues | |
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| Rural or Country Blues | |
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| "Hellhound on My Trail" | |
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| Classic Blues | |
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| "Lost Your Head Blues" | |
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| Urban Blues | |
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| New Orleans | |
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| Louis Armstrong (1901-1971) | |
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| "Hotter Than That" (excerpt) | |
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| Chicago Jazz | |
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| Jazz Piano | |
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| Boogie-Woogie | |
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| Stride Piano | |
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| "Carolina Shout" | |
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| Sweet Jazz | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Jazz 1930-1960 | |
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| Big Band Swing | |
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| Art of Arranging | |
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| "Taxi War Dance" (excerpt) | |
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| Edward Kennedy "Duke" Ellington (1899-1974) | |
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| Mood Indigo | |
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| Women in Jazz | |
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| Rise of Big Band Vocalists | |
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| Billie Holiday (1915-1959) | |
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| Bebop | |
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| Charlie "Bird" Parker (1920-1955) | |
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| John Birks "Dizzy" Gillespie (1917-1993) | |
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| "KoKo" | |
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| Jazz As Concert Music | |
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| Jazz Composition | |
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| Concerto for Cootie | |
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| Progressive Jazz | |
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| "Take Five" (excerpt) | |
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| Cool Jazz | |
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| "Boplicity" | |
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| Hard Bop | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Country Music | |
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| From Country to City | |
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| Jimmie Rodgers (1897-1933) | |
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| Blue Yodel No. 9 | |
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| The Carter Family | |
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| Styles of Country Music | |
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| American Folk Ballads | |
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| Anonymous, "The Ballad of Casey Jones" | |
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| Bluegrass | |
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| Earl Scruggs, "Earl's Breakdown" | |
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| Country Pop and the Nashville Sound | |
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| Western Swing | |
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| Honky-Tonk | |
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| Cowboy Songs | |
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| Hawaiian Music | |
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| "Mele of My Tutu E" | |
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| Cajun Music | |
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| Anonymous, Cajun Two-Step (excerpt) | |
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| Zydeco | |
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| Women in Country | |
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| Recent Country | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Latin Popular Musics | |
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| The Caribbean | |
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| Santeria: The Way of the Saints | |
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| Bomba | |
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| Rumba | |
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| Cu-bop | |
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| Mambo | |
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| Salsa | |
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| "Ojos" (Eyes) | |
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| Brazil | |
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| Samba and Bossa Nova | |
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| "Desafinado" ("Off Key") | |
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| Mexico | |
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| Tejano and Norteo Music | |
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| Conjunto | |
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| Mariachis | |
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| Latin Music Today | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 3 Summary | |
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| Vernacular Musics Since Rock and Roll | |
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| Vernacular Art | |
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| Vernacular Music | |
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| Rock and Roll | |
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| The Generation Gap | |
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| Rhythm and Blues | |
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| Country Music Meets R&B | |
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| Birth of Rock and Roll | |
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| Bill Haley (1925-1981) | |
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| Elvis Presley (1935-1977) | |
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| Early Characteristics | |
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| "School Days" | |
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| End of the First Era | |
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| Surfing Music | |
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| Motown | |
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| Listening Example 53. The Supremes, "Stop! In the Name of Love" | |
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| The British Invasion | |
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| Back to Black Rock | |
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| Gospel | |
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| "Down by the Riverside" | |
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| Soul | |
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| "Papa's Got a Brand New Bag" | |
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| Funk | |
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| From Rock and Roll to Rock | |
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| Psychedeli c Rock | |
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| Psychedelic Blues | |
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| Heavy Metal | |
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| A Future Unassured | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Rock Flirts with Country | |
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| Urban Folk Music | |
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| Woody Guthrie (1914-1967) | |
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| The Urban Folk Revival | |
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| Bob Dylan (1941- ) | |
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| Folk Rock | |
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| "Mr. Tambourine Man" | |
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| Newport Folk Festival, 1965 | |
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| Alternative Country | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Jazz Since 1960 | |
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| Free Jazz | |
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| "A Love Supreme," Part I, "Acknowledgement" (excerpt) | |
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| The 1970s | |
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| Fusion (Jazz-Rock) | |
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| Integration of Foreign Sounds | |
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| The 1980s and Beyond | |
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| Crossover Music | |
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| Traditionalism | |
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| The 1990s and Beyond | |
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| Henry Threadgill (b. 1944) | |
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| Anthony Braxton (b. 1945) | |
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| Wynton Marsalis (b. 1961) | |
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| Jazz Today and Tomorrow | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Popular Music since 1970 | |
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| Singer-Songwriters | |
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| Art Rock | |
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| Disco | |
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| Punk | |
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| New Wave | |
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| Grunge | |
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| Electronic Dance Music | |
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| Pop Music and Politics | |
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| Looking Forward, Backward, and Abroad | |
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| Hip-Hop and Rap | |
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| Reggae | |
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| The Rise of Hip-Hop | |
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| Rap | |
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| Social Concerns | |
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| Back to the Roots | |
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| Music Business | |
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| Sharing Music | |
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| Marketing Music | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 4 Summary | |
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| Music for Theater and Film | |
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| Music and Theater: Historical and Cultural Perspective | |
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| Musical Theater in America | |
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| Broadway Musicals | |
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| Operas | |
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| Films | |
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| Musical Theater | |
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| Variety Shows | |
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| Vaudeville | |
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| Burlesque | |
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| Revues | |
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| Operetta | |
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| Gilbert and Sullivan | |
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| American Operettas | |
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| Musical Comedies | |
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| George M. Cohan (1878-1942) | |
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| "Give My Regards to Broadway" (from Little Johnny Jones) | |
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| Black Musical Theater | |
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| Jerome Kern's Show Boat | |
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| "Ol' Man River" (from Show Boat) | |
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| Golden Age of Broadway Musicals (1930-1955) | |
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| Rodgers and Hart | |
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| Rodgers and Hammerstein | |
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| Expansion of the Broadway Musical | |
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| Lerner and Loewe | |
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| Leonard Bernstein (1918-1990) | |
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| "Tonight" (from Westside Story) | |
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| Stephen Sondheim (b. 1930) | |
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| "Every Day a Little Death" (from a Little Night Music) | |
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| More Black Musicals | |
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| The Music of Musicals | |
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| Current Trends | |
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| From Film to Broadway | |
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| Effects Other than Music | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Music for Films | |
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| Functions of Music in Film | |
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| Source Versus Functional Music | |
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| History of Music in Films | |
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| Silent Films | |
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| Early Sound Films | |
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| The Hollywood Sound | |
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| Bernard Herrmann (1911-1975) | |
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| "The Murder" (from Psycho) | |
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| John Williams (b. 1932) | |
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| Star Wars Main Title | |
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| Pop Scores | |
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| Electronic Music | |
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| Movie Musicals Revived | |
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| Current Trends | |
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| The Composer's Perspective | |
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| Techniques | |
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| Film Score Performances and Recordings | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| American Opera | |
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| Opera | |
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| Solo and Ensemble Singing | |
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| Opera in America | |
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| Virgil Thomson (1896-1989) | |
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| George Gershwin's Porgy and Bess | |
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| "Bess, You Is My Woman Now" (from Porgy and Bess) | |
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| Gian-Carlo Menotti (1911-2007) | |
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| The Trend toward Realism | |
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| "Spaceship" (from Einstein on the Beach) | |
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| Opera or Musical: Which Is It? | |
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| American Opera Today | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 5 Summary | |
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| Tradition and Innovation in Concert Music | |
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| Music for the Concert Hall: Historical and Cultural Perspective | |
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| Interaction between the Arts | |
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| The Value of Chance | |
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| American Concert Music | |
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| Experimental Music: Revolution | |
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| Charles Ives (1874-1954) | |
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| Philosophy of Music | |
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| Instrumental Compositions | |
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| "General Putnam's Camp" from Three Places in New England | |
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| Songs | |
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| "At the River" | |
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| Other Characteristics of Ives's Music | |
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| Ives's Place in History | |
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| Henry Cowell (1897-1965) | |
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| Early Compositions | |
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| Piano Experiments | |
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| "The Banshee" (excerpt) | |
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| Sources of Inspiration | |
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| Writings | |
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| Concrete Music | |
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| John Cage (1912-1992) | |
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| Gamelan Music | |
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| Anonymous, "Hudjan Mas" (Golden Rain) (excerpt) | |
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| Prepared Piano | |
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| Sonata V (from Sonatas and Interludes for Prepared Piano) | |
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| Terms to Review | |
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| Key Figures | |
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| Online Listening Examples | |
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| Critical Thinking | |
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| Early Twentieth-Century Mainstream Concert Music: Evolution | |
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| The Parisian Scene | |
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| Aaron Copland (1900-1990) | |
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| Depression and War Years | |
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| Fanfare for the Common Man | |
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| Music for Dance | |
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| "Hoedown" (from Rodeo) | |
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| Later Works | |
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| Samuel Barber (1910-1981) | |
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| Adagio for Strings | |
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| Harlem Renaissance | |
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| William Grand Still (1895-1978) | |
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| Afro-American Symphony, third movement ("Humor") | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| The Avant-Garde, Continued | |
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| Rhythm and Timbre | |
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| Harry Partch (1901-1974) | |
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| Tape Music and the Electronic Synthesizer | |
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| Milton Babbitt (b. 1916) | |
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| "Ensembles for Synthesizer" (excerpt) | |
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| John Cage and Chance Music | |
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| Silence | |
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| Other Composers of Chance Music | |
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| Notation | |
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| Pauline Oliveros (b.1932) | |
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| "Sound Patterns" | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| The Recent Mainstream | |
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| The Elements of Music | |
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| New Concepts of Form | |
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| William Schuman (1910-1992) | |
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| New England Triptych, third movement, "Chester" | |
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| Minimalism | |
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| Terry Riley (b. 1935) | |
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| Philip Glass (b. 1937) | |
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| Gwyneth Walker (b. 1947) | |
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| "Maggie and Millie and Molly and May" (from Though Love Be a Day) | |
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| A Promise of New Sounds | |
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| Terms to Review | |
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| Key Figures | |
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| Critical Thinking | |
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| Part 6 Summary | |
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| The Charge | |
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| Glossary | |
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| Credits | |
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| Index | |