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| Introduction: Hearing the Music | |
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| Composers and Performers | |
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| Interactive Learning | |
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| Fundamentals of Music Study | |
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| What's Happening? | |
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| Gershwin: Summertime, from Porgy and Bess (1935) | |
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| Pitch and Its Notation | |
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| Rhythm, Melody, Harmony, Texture, Nuance | |
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| Voices and Instruments | |
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| Tonality | |
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| On Periods, Genres, Titles, Forms, & Schools | |
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| Periods of Music History | |
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| Titles | |
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| Form | |
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| Schools | |
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| History of Musical Style | |
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| The Middle Ages and Renaissance | |
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| The Middle Ages | |
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| Kyrie eleison (Kyrie Cunctipotens genitor) | |
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| Hildegard of Bingen: Kyrie eleison (1150) | |
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| Pange lingua (c. 1264) | |
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| Sumer is icumen in (c. 1240) | |
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| The Renaissance | |
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| Deploration sur la mort de Johannes Ockeghem (c. 1497) | |
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| Agnus Dei, from Mass in 4 Parts (1592-93) | |
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| Agnus Dei, from Zapotec Mass (1636) | |
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| Io mi son giovinetta (1603) | |
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| Dowland: Flow My Tears (1600) | |
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| The Baroque | |
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| Venice: Monteverdi and the Opera | |
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| Basso Continuo; The Ritornello Principle | |
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| Purcell: When I Am Laid in Earth (Dido's Lament), from Dido and Aeneas (1689) | |
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| Vivaldi, Bach, Handel | |
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| The Baroque Concerto | |
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| Bach: from Double Concerto in D minor, BWV 1043 (c. 1720) | |
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| Bach: Fugue in C Minor from The Well-Tempered Clavier (book I, 1722) | |
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| The Suite of Dances | |
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| Bach: Badinerie from Orchestral Suite No | |
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| 2 in B Minor, BWV 1067 (c. 1735) | |
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| Chorale, Cantata, Oratorio | |
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| Bach: From Cantata 80: Ein' feste Burg (c. 1734) | |
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| Handel: Excerpt from Messiah, (part I, 1741) | |
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| The Classical Style | |
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| Vienna | |
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| The Viennese Sonata | |
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| Mozart: Eine kleine Nachtmusik, K. 525 (1787), movts | |
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| I, III | |
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| Mozart and Haydn | |
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| Classical Genres | |
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| Haydn: From String Quartet in C Major, op. 76, no. 3 (1797, Emperor), movt | |
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| II: Poco adagio; cantabile | |
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| Haydn: From Piano Sonata no | |
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| 59 in E flat Major (1790), movt | |
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| I: Allegro | |
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| Mozart: From Piano Concerto no | |
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| 25 in C Major, K. 503 (1786), movt | |
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| I: Allegro maestoso | |
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| Mozart Operas | |
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| Mozart: from Symphony No | |
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| 40 in G Minor, K. 550 (1788), movt | |
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| I: Allegro non troppo | |
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| Romanticism | |
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| The French Revolution; Napoleon | |
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| Beethoven | |
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| Beethoven: Symphony No | |
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| 5 in C Minor, op. 67 (1808) | |
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| Schubert | |
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| Schubert: Gretchen am Spinnrade (1814) | |
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| Romanticism | |
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| Schumann: From Carnaval (1835): ArlequinValse noble; ChiarinaChopin | |
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| Europe After Napoleon | |
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| Paris: Berlioz, Liszt, Chopin | |
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| Berlioz: From Symphonie fantastique (1830), movt | |
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| V: Dream of a Witches Sabbath | |
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| Chopin: Mazurka in A Minor, op. 17, No. 4 (1834) | |
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| Leipzig: Schumann and Mendelssohn | |
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| Romanticism, Again | |
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| Romantic Opera | |
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| Bellini: Casta Diva, from Norma (1831) | |
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| G"tterdimmerung | |
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| Verdi and Wagner | |
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| Verdi: From Otello (1887): Love Duet (Otello, Desdemona: Act I): Quando narravi | |
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| Wagner: Brunnhilde's Immolation (Final Scene), from G"tterdimmerung (1876) | |
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| Brahms, Mahler, and Strauss | |
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| Brahms: From Variations on a Theme by Haydn, op | |
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| 56a (1873): Theme, Variations I-III, Finale | |
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| The Nationalists | |
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| Smetana: Furiant, from The Bartered Bride (1866) | |
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| Russian Nationalism: The Mighty Handful | |
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| Tchaikovsky, Puccini | |
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| Tchaikovsky: Romeo and Juliet Overture Fantasy (1869) | |
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| Paris, Again: Debussy, Ravel, the Ballet Russes, Stravinsky | |
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| Debussy: La Soiree dans Grenade (1903) | |
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| Stravinsky: From The Rite of Spring (1913) | |
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| Introduction: Les Augures printiniares: Danses des Adolescentes | |
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| Boulanger: Psalm 24 (1916) | |
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| Music Here and Now | |
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| Music in the Land of Plenty | |
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| Congregational Singing | |
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| Billings: David's Lamentation (1778) and David's Lamentation (performed 1959) | |
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| Music of the Slaves | |
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| Parlor Songs and Quicksteps | |
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| Sousa: Semper Fidelis (1888) | |
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| J<$$$> | |