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Preface | |
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Antiquity and the Middle Ages | |
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Music in Ancient Greece | |
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Music in Greek Society | |
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The Nature of Greek Music | |
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Music in Greek Philosophy | |
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Greek Music Theory | |
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Summary | |
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Key Terms | |
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Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World | |
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Rome | |
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Jerusalem and the Rise of Early Christian Music | |
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Summary | |
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Key Terms | |
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Music in the Monastery and Convent | |
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The Monastery of St. Gall, Switzerland | |
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The Canonical Hours: The Work of the Lord | |
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Gregorian Chant in the Monastery | |
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Gregorian Chant for Vespers | |
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Gregorian Chant for the Mass | |
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Summary | |
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Key Terms | |
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Music Theory in the Monastery: John of St. Gall and Guido of Arezzo | |
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The Eight Church Modes | |
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Chant Notation | |
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Musical Staff and Pitch Names | |
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Hexachords | |
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The Guidonian Hand | |
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Summary | |
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Key Terms | |
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Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen | |
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Tropes | |
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Sequences | |
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Music in the Convent: The Chant and Liturgical Drama of Hildegard of Bingen | |
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Summary | |
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Key Terms | |
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Troubadours and Trouveres | |
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The Court of Eleanor of Aquitaine | |
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Trouveres | |
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Summary | |
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Key Terms | |
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Early Polyphony | |
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Organum in Music Theory Sources | |
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Organum in Practical Sources | |
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Summary | |
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Key Terms | |
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Music in Medieval Paris: Polyphony at Notre Dame | |
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Notre Dame of Paris | |
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Leoninus and the Magnus liber organi | |
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Perotinus the Great | |
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Summary | |
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Key Terms | |
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Music in the Cathedral Close and University: Conductus and Motet | |
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Conductus | |
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Motet | |
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Summary | |
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Key Terms | |
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In the Parisian Master's Study: Music Theory of the Ars Antiqua and Ars Nova | |
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Franco of Cologne and the Art of Measured Song | |
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Jean des Murs and Philippe de Vitry: The Ars Nova | |
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Summary | |
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Key Terms | |
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Music at the Court of the French Kings | |
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The Roman de Fauvel | |
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Philippe de Vitry | |
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Royal Dances | |
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Musical Instruments at Court and in Church | |
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Summary | |
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Key Terms | |
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Fourteenth-Century Music in Reims: Guillaume de Machaut | |
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Machaut, the Black Death, and the Hundred Years' War | |
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Machaut and the Formes fixes | |
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Machaut and the Mass of Our Lady | |
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Summary | |
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Key Terms | |
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Avignon, Symbolic Scores, and the Ars Subtilior | |
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Papal Avignon | |
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Baude Cordier and Symbolic Scores | |
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Philippus de Caserta: The Ars Subtilior | |
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Summary | |
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Key Terms | |
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From Medieval Manuscript to Modern Performance | |
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The Late Middle Ages and Early Renaissance | |
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Music in Florence, 1350-1450 | |
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Trecento Music and the Squarcialupi Codex | |
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Francesco Landini | |
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Summary | |
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Key Terms | |
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Music at the Cathedral of Florence | |
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Summary | |
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Key Terms | |
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Music in England | |
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Rondellus and Rota | |
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English Faburden and Continental Fauxbourdon | |
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King Henry V: The Old Hall Manuscript and the Carol | |
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John Dunstaple and the Contenance Angloise | |
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Summary | |
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Key Terms | |
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Music at the Court of Burgundy | |
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Gilles Binchois and the Burgundian Chanson | |
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Guillaume Dufay: A Lament and a Mass for the Christian Soldier | |
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Summary | |
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Key Terms | |
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Music at the French Royal Court | |
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Johannes Ockeghem and Musical Canons | |
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A Musical Joke for the French King | |
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Philippe Basiron and the Paraphrase Motet | |
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Antoine Busnoys and the Imitative Chanson | |
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Summary | |
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Key Terms | |
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Music in the Low Countries | |
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Jacob Obrecht and the Multiple Cantus Firmus Mass | |
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Musical Instruments | |
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The Basse Danse | |
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Summary | |
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Key Terms | |
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The Late Renaissance | |
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Musical Humanism and the Renaissance | |
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Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal | |
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The Carnival Song and the Lauda | |
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The Frottola | |
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The Early Madrigal in Florence | |
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Summary | |
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Key Terms | |
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Josquin des Prez and Music in Ferrara | |
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Josquin des Prez | |
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Josquin's Music for Duke Hercules of Ferrara | |
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Josquin and an Artist's Temperament | |
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Summary | |
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Key Terms | |
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Music Printing in the Renaissance | |
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Music in Renaissance Paris | |
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The Parisian Chanson | |
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Claudin de Sermisy | |
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Instrumental Arrangements | |
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Dance Music | |
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Summary | |
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Key Terms | |
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Renaissance Instruments and Instrumental Music | |
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Keyboard Instruments | |
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String Instruments | |
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Wind Instruments | |
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Instrumental Genres | |
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Summary | |
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Key Terms | |
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Music Theory in the Renaissance | |
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Music in Three German Cities: The Protestant-Catholic Confrontation | |
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Innsbruck: Music under Emperor Maximilian I | |
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The Reformation: Music in Augsburg | |
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Orlande de Lassus and the Court of Munich | |
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Epilogue: The Psalter in Other Protestant Countries | |
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Summary | |
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Key Terms | |
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Rome and the Music of the Counter-Reformation | |
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Giovanni Pierluigi da Palestrina | |
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Spanish Music during the Counter-Reformation | |
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Summary | |
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Key Terms | |
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Music in Elizabethan England: Early Vocal Music | |
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Henry VIII as Musician and Church Reformer | |
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Thomas Tallis and the English Psalm | |
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William Byrd and the English Anthem | |
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Summary | |
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Key Terms | |
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Music in Elizabethan England: Instrumental Music and Later Vocal Music | |
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English Keyboard Music | |
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The English Madrigal | |
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The English Lute Ayre | |
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Summary | |
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Key Terms | |
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The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi | |
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The Madrigal in Ferrara | |
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Carlo Gesualdo | |
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Music in Mantua: Isabella d'Este | |
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Claudio Monteverdi | |
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Summary | |
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Key Terms | |
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Baroque Music | |
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Early Baroque Music | |
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Characteristics of Early Baroque Music | |
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Summary | |
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Key Terms | |
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The Birth of Opera: Florence, Mantua, and Venice | |
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Early Opera in Florence | |
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Early Opera in Mantua: Monteverdi's Orfeo | |
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Early Opera in Venice | |
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Summary | |
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Key Terms | |
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The Concerted Style in Venice and Dresden | |
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Giovanni Gabrieli and the Concerted Motet | |
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Claudio Monteverdi and the Concerted Madrigal | |
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Barbara Strozzi and the Early Baroque Cantata | |
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The Concerted Style Moves North: Heinrich Schutz in Dresden | |
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Summary | |
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Key Terms | |
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Religious Music in Baroque Rome | |
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The Cappella Pontificia Sistina and the Stile Antico | |
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St. Peter's Basilica and the Colossal Baroque | |
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Organ Music by Girolamo Frescobaldi | |
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Sacred Opera and Oratorio: Giacomo Carissimi's Jephte | |
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The Chamber Cantata: A Christmas Cantata by Alessandro Scarlatti | |
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Summary | |
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Key Terms | |
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Instrumental Music in Italy | |
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The Violin Family | |
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Formation of the Baroque Orchestra | |
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Church and Chamber Music | |
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Salomone Rossi and the Early Baroque Sonata | |
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Arcangelo Corelli: Solo Sonata and Trio Sonata | |
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Trumpet Music by Giuseppe Torelli: The Beginnings of the Solo Concerto | |
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Antonio Vivaldi: Solo Concerto and Concerto Grosso | |
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Summary | |
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Key Terms | |
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Instrumental Music in Germany and Austria | |
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Johann Froberger and the Baroque Dance Suite | |
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Biber and Kuhnau: The Programmatic Sonata | |
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Dieterich Buxtehude and the North German Organ Tradition | |
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Johann Pachelbel and the South German Tradition | |
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Summary | |
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Key Terms | |
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Music in Paris and at the Court of Versailles: Vocal Music | |
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Ballet de cour | |
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Jean-Baptiste Lully and Tragedie lyrique | |
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Religious Music | |
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Elizabeth Jacquet de La Guerre and the Cantate francaise | |
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Summary | |
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Key Terms | |
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Music in Paris and at the Court of Versailles: Instrumental Music | |
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The Gaultiers: French Lute Music | |
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The Couperins: French Harpsichord Music | |
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Summary | |
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Key Terms | |
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From Ancient to Modern: Aspects of Baroque Music Theory | |
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Music in London: Henry Purcell | |
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Henry Purcell and Theater Music | |
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Purcell's Odes and Funeral Music for Queen Mary | |
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Summary | |
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Key Terms | |
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Music in London: George Frideric Handel | |
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Handel and the Dance Suite | |
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Handel and Opera | |
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Handel and Oratorio | |
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Summary | |
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Key Terms | |
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Johann Sebastian Bach: Instrumental Music in Weimar and Cothen | |
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Bach in Weimar: The Organ Music | |
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Bach in Cothen: Chamber and Orchestral Music | |
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Summary | |
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Key Terms | |
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Johann Sebastian Bach: Vocal Music in Leipzig | |
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The Lutheran Chorale Cantata | |
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Bach's Later Musical Projects | |
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Summary | |
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Key Terms | |
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The Enlightenment and the Classical ERA | |
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Music in the Age of Enlightenment: Opera | |
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Music of the Establishment: Enlightenment Opera Seria | |
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Music and Social Change: Comic Opera | |
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The Reform Operas of Gluck | |
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Summary | |
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Key Terms | |
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Music in the Age of Enlightenment: Orchestral Music | |
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Public Concerts | |
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The Early Symphony: Giovanni Battista Sammartini in Milan | |
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The Rise of Orchestral Discipline: Johann Stamitz in Mannheim | |
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Summary | |
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Key Terms | |
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Music in the Age of Enlightenment: Keyboard Music | |
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Domestic Keyboard Music for Women | |
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The Advent of the Piano | |
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Domenico Scarlatti in Madrid | |
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The Clavichord in Berlin: Carl Philipp Emanuel Bach | |
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The Piano in London: Johann Christian Bach | |
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Summary | |
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Key Terms | |
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Classical Music in Vienna | |
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Classical Style | |
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Classical Forms | |
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Classical Genres | |
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The Classical Orchestra | |
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Classical Composers | |
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Summary | |
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Key Terms | |
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Joseph Haydn: Instrumental Music | |
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The Life of Joseph Haydn (1732-1809) | |
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Haydn's Early and Middle Symphonies | |
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Haydn's String Quartets | |
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Haydn's Sonatas and Concertos | |
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Summary | |
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Key Terms | |
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Joseph Haydn: Late Symphonies and Vocal Music | |
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The Paris Symphonies | |
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The London Symphonies | |
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The Late Vocal Music | |
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Summary | |
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Key Terms | |
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Wolfgang Amadeus Mozart: Instrumental Music | |
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The Life of Wolfgang Amadeus Mozart (1756-1791) | |
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Symphonies | |
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Chamber Music | |
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Piano and Violin Sonatas | |
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Concertos | |
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Summary | |
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Key Terms | |
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Wolfgang Amadeus Mozart: Vocal Music | |
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Requiem Mass | |
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Summary | |
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Key Terms | |
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The Early Music of Beethoven | |
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Years of Apprenticeship: 1770-1792 | |
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Beethoven's World in 1792 | |
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Vienna: 1792-1802 | |
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Piano Music and the "Pathetique" Sonata | |
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Piano Concerto No. 1 in C Major | |
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The Onset of Deafness | |
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Summary | |
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Key Terms | |
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Beethoven's Middle Period: 1802-1814 | |
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Beethoven's Life and Music During the Middle Period | |
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Beethoven's Symphonies: New Paths | |
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The Opera Fidelio | |
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Affairs of the Heart: The Immortal Beloved | |
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Summary | |
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Key Terms | |
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After the Congress of Vienna: Beethoven's Late Music | |
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Music at the Congress of Vienna | |
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Beethoven's Life and Works in His Late Period | |
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Beethoven's Death and Funeral | |
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Summary | |
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Key Terms | |
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The romantic Period | |
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Romanticism | |
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Franz Schubert | |
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Schubert's Life | |
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Schubert's Music: Works for Voices | |
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Chamber, Piano, and Orchestral Compositions | |
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Schubert's Songs | |
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Summary | |
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Key Terms | |
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Music in Paris Under Louis Philippe: Berlioz and Chopin | |
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Musical Culture in Paris | |
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Hector Berlioz | |
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Frederic Chopin | |
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Summary | |
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Key Terms | |
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Leipzig and the Gewandhaus: Felix Mendelssohn and the Schumanns | |
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Music in Saxony | |
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Felix Mendelssohn: Life and Music | |
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Robert Schumann | |
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Clara Schumann | |
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Summary | |
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Key Terms | |
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German Opera of the Nineteenth Century: Weber and Wagner | |
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Carl Maria von Weber | |
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Richard Wagner | |
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Wagner's Music and Theories of Opera | |
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Das Rheingold | |
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Summary | |
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Key Terms | |
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Opera in Italy: Rossini and Verdi | |
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Gioachino Rossini | |
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Giuseppe Verdi | |
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Verdi and the Risorgimento | |
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Verdi and Wagner | |
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Summary | |
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Key Terms | |
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Nationalism and Virtuosity: Franz Liszt | |
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Liszt's Life and Works | |
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Liszt and the Piano | |
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Liszt, Wagner, and the New German School | |
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Music for Orchestra: The Symphonic Poem | |
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Summary | |
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Key Terms | |
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Vienna in the Late Nineteenth Century: Brahms and Bruckner | |
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Vienna in the 1860s | |
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Brahms's Life and Works | |
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Brahms's Vocal Music | |
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Anton Bruckner | |
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Summary | |
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Key Terms | |
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Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky | |
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St. Petersburg in the Late Nineteenth Century | |
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The Kuchka | |
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Modest Mussorgsky | |
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Peter Ilyich Tchaikovsky | |
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Ballet | |
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Ballet in Russia: The Nutcracker | |
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Summary | |
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Key Terms | |
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Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler | |
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Mahler's Life | |
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Mahler's Songs | |
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Mahler's Symphonies | |
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Alma Mahler: Musician and Muse | |
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Summary | |
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Key Terms | |
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England at the End of the Romantic Period: Elgar and Vaughan Williams | |
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The English Choir Festivals | |
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Edward Elgar | |
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English Music After Elgar: Ralph Vaughan Williams | |
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Summary | |
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Key Terms | |
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Opera in Milan After Verdi: Puccini, Toscanini, and Verismo | |
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The Opera Business | |
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Innovations at La Scala | |
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Arturo Toscanini | |
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Puccini at La Scala | |
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Verismo Opera | |
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Summary | |
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Key Terms | |
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Paris in the Belle Epoque: Debussy, Faure, and Lili Boulanger | |
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New Poetry | |
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Impressionism in Painting | |
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New Realities: Claude Debussy | |
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Harmonic Chemistry in Debussy's Piano Music | |
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Debussy's Orchestral Music | |
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Gabriel Faure | |
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The Spread of Debussyism: Lili Boulanger | |
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Summary | |
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Key Terms | |
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The Early Twentieth Century | |
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Music After 1900 | |
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Richard Strauss in Berlin | |
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Berlin | |
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Richard Strauss | |
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Music of the Opera | |
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Strauss and "Progress" | |
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Summary | |
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Key Terms | |
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Music in Russia During the Silver Age: Igor Stravinsky | |
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Realism in Russian Art and Literature | |
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Music During the Silver Age | |
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Sergei Diaghilev and The World of Art | |
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The Ballets Russes | |
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Igor Stravinsky | |
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The Russian Revolution | |
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Summary | |
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Key Terms | |
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Atonality: Schoenberg and Scriabin | |
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New Music and Abstract Art | |
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Arnold Schoenberg | |
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The Atonal Style | |
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The Evolution of Schoenberg's Atonal Style | |
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Other Atonalists: Alexander Scriabin | |
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Summary | |
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Key Terms | |
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French Music at the Time of World War I: Ravel and Satie | |
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Maurice Ravel | |
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Erik Satie | |
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World War I | |
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Summary | |
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Key Terms | |
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New Music in Paris After World War I: Stravinsky and The Six | |
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Musical Life in Paris | |
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Regaining Control | |
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Igor Stravinsky and the Neoclassical Style | |
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Darius Milhaud and "The Six" | |
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Summary | |
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Key Terms | |
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Vienna in the Aftermath of War: Twelve-Tone Methods | |
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Austria After 1918 | |
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Organizing the Twelve Tones | |
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Schoenberg's Twelve-Tone Method | |
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Anfon Webern | |
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Summary | |
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Key Terms | |
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Musical Theater in Germany in the 1920s: Berg and Weill | |
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Georg Buchner | |
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Alban Berg's Wozzeck | |
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Kurt Weill | |
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Summary | |
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Key Terms | |
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Bela Bartok and Hungarian Folk Music | |
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Bela Bartok | |
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Hungarian Peasant Music | |
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Bartok's Use of Folk Music | |
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Summary | |
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Key Terms | |
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Early Jazz | |
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The Sources of Early Jazz: Ragtime | |
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Blues | |
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Popular Songs | |
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Dance Music | |
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Summary | |
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Key Terms | |
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Paul Hindemith and Music in Nazi Germany | |
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Musical Life Under the Nazis | |
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Hindemith's Life and Works | |
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Hindemith's Theory of the Twelve Tones | |
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Summary | |
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Key Terms | |
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Music in Soviet Russia: Prokofiev and Shostakovich | |
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Sergei Prokofiev | |
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Musical Culture in the Soviet Union | |
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Dmitri Shostakovich | |
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Early Works and Successes | |
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Later Works and Controversies | |
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Summary | |
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Key Terms | |
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Self-Reliance in American Music: Ives, Seeger, Nancarrow | |
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Music in Colonial America | |
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Nineteenth-Century Developments | |
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Charles Ives | |
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Aesthetics | |
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Ives's Music: Vocal Works | |
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Ives's Instrumental Music: The Unanswered Question | |
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Later Figures: Ruth Crawford Seeger and Conlon Nancarrow | |
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Summary | |
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Key Terms | |
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American Composers Return from Europe: Copland and Barber | |
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Copland's Life and Music | |
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The Formation of a Style | |
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Samuel Barber | |
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Barber's Life and Works | |
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Summary | |
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Key Terms | |
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Tin Pan Alley and the Broadway Musical | |
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The Popular Song Business | |
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George Gershwin | |
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The Broadway Musical | |
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Rodgers and Hammerstein: Oklahoma! | |
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Leonard Bernstein: West Side Story | |
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Musicals of the 1960s and Beyond | |
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Summary | |
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Key Terms | |
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Contemporary Music | |
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After World War II | |
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Reflections on War: Britten, Penderecki, and Others | |
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Richard Strauss, Metamorphosen | |
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Arnold Schoenberg, A Survivor from Warsaw | |
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Benjamin Britten and the War Requiem | |
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Krzysztof Penderecki | |
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Summary | |
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Key Terms | |
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Twelve-Tone Music and Serialism After World War II | |
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The Twelve-Tone Revival | |
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Milton Babbitt and "Total Serialism" | |
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Igor Stravinsky, Agon | |
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Pierre Boulez, Le marteau sans maitre | |
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The Waning of the Twelve-Tone Method | |
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Summary | |
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Key Terms | |
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Alternatives to Serialism: Chance, Electronics, Textures | |
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Chance Music: John Cage | |
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Electronic Music: Edgard Varese | |
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New Musical Textures: Olivier Messiaen | |
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Summary | |
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Key Terms | |
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Harlem in the 1930s, 1940s, and 1950s: Big Bands, Bebop, and Cool Jazz | |
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Jazz in Harlem | |
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The Big Bands: Fletcher Henderson and Duke Ellington | |
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Bebop | |
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Cool and Free Jazz | |
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Summary | |
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Key Terms | |
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The Birth of Rock | |
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Music in the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations | |
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New Uses of the Voice: Luciano Berio and George Crumb | |
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Elliott Carter | |
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Minimalism: Steve Reich | |
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Summary | |
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Key Terms | |
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Returning to the Known: Music of the Recent Past | |
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Mixing Styles: Gyorgy Ligeti | |
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The Transformation of Minimalism: John Adams | |
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Reviving the Recent Past: Joan Tower | |
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The Renaissance Reborn: Arvo Part | |
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Music in the Twenty-First Century | |
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Summary | |
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Key Terms | |
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Notes | |
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Bibliography | |
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Credits | |
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Glossary | |
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Index | |