| Preface | |
| Elements | |
| Sound: Pitch, Dynamics, and Tone Color | |
| Pitch: Highnessor Lowness of Sound | |
| Dynamics | |
| Tone Color | |
| Listening Outlines, Vocal Music Guides, and the Properties of Sound | |
| The Firebird, Scene 2 by Igor Stravinsky | |
| Listening Outline | |
| C-Jam Blues | |
| Listening Outline | |
| Performing Media: Voices and Instruments | |
| Voices | |
| Musical Instruments | |
| String Instruments | |
| Woodwind Instruments | |
| Brass Instruments | |
| Percussion Instruments | |
| Keyboard Instruments | |
| Electronic Instruments | |
| The Young Person''s Guide to the Orchestra, Op.34 | |
| Listening Outline | |
| Rhythm | |
| Beat | |
| Meter | |
| Accent and Syncopation | |
| Tempo | |
| Music Notation | |
| Notating Pitch | |
| Notating Rhythm | |
| Notating Silence (Rests)Notating Meter | |
| The Score | |
| Melody | |
| Harmony | |
| Consonance and Dissonance | |
| The Triad | |
| Broken Chords (Arpegios)Prelude in E Minor for Piano, Op. 28, No.4, by Frederic Chopin | |
| Listening Outline | |
| Peformance Perspective: Pianist Roger Kamien playing Chopin''s Prelude in E Minor | |
| Key | |
| The Major Scale | |
| The Minor Scale | |
| The Key Signature | |
| The Chromatic Scale | |
| Modulation: Change of Key | |
| Tonic Key | |
| Musical Texture | |
| Monophonic Texture | |
| Polyphonic Texture | |
| Homophonic Texture | |
| Changes of Texture | |
| Farandole from L''Arlp¼sienne (The Woman from Arles) Suite No.2, by Georges Bizet | |
| Listening Outline | |
| Musical Form | |
| Techniques That Create Musical Form | |
| Repetition | |
| Contrast | |
| Variation | |
| Types of Musical Form | |
| Three-Part (Ternary) Form: A B ADance of the Reed Pipes from Nutcracker Suite, by Peter Ilyich Tchaikovsky | |
| Listening Outline | |
| Two-Part (Binary) Form: A BContradance No. 7 in E Flat from Twelve Contradances for Orchestra | |
| Listening Outline | |
| Listening for Form | |
| Musical Style | |
| The Middle Ages and Renaissance | |
| Music in the Middle Ages (450-1450)Gregorian Chant | |
| The Church Modes | |
| Alleluia: Vidimus stellam (We have seen his star) | |
| Vocal Music Guide | |
| O Successores (You successors) | |
| Vocal Music Guide | |
| Secular Music in the Middle Ages | |
| Estampie | |
| The Development of Polyphony: Organum | |
| School of Notre Dame: Measured Rhythm | |
| Fourteenth-Century Music: The "New Art" in France | |
| Guilaume de Machaut | |
| Puis qu''en oubli sui de vous (Since I am forgotten by you) | |
| Vocal Music Guide | |
| Notre Dame Mass: Agnus Dei | |
| Vocal Music Guide | |
| Performance Perspective: Andrew Parrott conducting the Agnus Dei from Machaut''s Notre Dame Mass | |
| Music in the Renaissance (1450-1600) | |
| Characteristics of Renaissance Music | |
| Word and Music | |
| Texture | |
| Rhythm and Melody | |
| Sacred Music in the Renaissance | |
| Josquin Desprez and the Renaissance Motet | |
| Ave Maria...virgo serena (Hail Mary...serene virgin) | |
| Vocal Music Guide | |
| Palestrina and the Renaissance Mass | |
| Pope Marcellus Mass: Kyrie | |
| Secular Music in the Renaissance | |
| Vocal Music: The Renaissance Madrigal | |
| As Vesta Was Descending | |
| Vocal Music Guide | |
| Instrumental Music | |
| Passamezzo and Galiard | |
| Caroubel, from Terpsichore | |
| The Baroque Period | |
| Baroque Music (1600-1750) | |
| Characteristics of Baroque Music | |
| Unity of Mood | |
| Rhythm | |
| Melody | |
| Dynamics | |
| Texture | |
| Chords and the Basso Continuo (Figured Bass) | |
| Words and Music | |
| The Baroque Orchestra | |
| Baroque Forms | |
| Music in Baroque Society | |
| The Concerto Grosso and Ritornello Form | |
| Brandenburg Concerto No.5 in D Major | |
| Listening Outline | |
| The Fugue | |
| Organ Fugue in G Minor (Little Fugue) | |
| Listening Outline | |
| The Elements of Opera | |
| Opera in the Baroque Era | |
| Claudio Monteverdi | |
| Orfeo (Orpheus) | |
| Vocal Music Guide: Tu se morta (You are dead) | |
| Henry Purcell | |
| Ground Bass | |
| Dido and Aeneas | |
| Vocal Music Guide: Dido''s Lament | |
| The Baroque Sonata | |
| Trio Sonata in A Minor, Op.3, No.10 | |
| Antonio Vivaldi | |
| La Primavera (Spring), Concerto for Violin and String Orchestra, Op.8, No.1, from The Four Seasons | |
| Listening Outline: First Movement | |
| Performance Perspective: Violinist Jeanne Lamon plays and conducts Vivaldi''s ''Spring'' Concerto | |
| Johann Sebastian Bach | |
| Bach''s Music | |
| The Baroque Suite | |
| Suite No.3 in D Major | |
| The Chorale and Church Cantata | |
| The Church Cantata | |
| Cantata No.140: Wachet auf, ruft uns die Stimme (Awake, a voice is calling us) | |
| Vocal Music Guides: Fourth Movement; Seventh Movement | |
| The Oratorio | |
| George Frideric Handel | |
| Handel''s Music | |
| Messiah | |
| VOCAL MUSIC GUIDES: Ev''ry Valley Shall Be Exalted; Hallelujah Chorus | |
| The Classical Period | |
| Performance Perspective: Murray Perahia | |
| The Classical Style (1750-1820)Characteristics of the Classical Style | |
| Contrast of Mood | |
| Rhythm | |
| Texture | |
| Melody | |
| Dynamics and the Piano | |
| The End of the Basso Continuo | |
| The Classical Orchestra | |
| Classical Forms | |
| Composer, Patron, and Public in the Classical Period | |
| Vienna | |
| Sonata Form | |
| Exposition | |
| Development | |
| Recapitulation | |
| Coda | |
| Symphony No.40 in G Minor, K.550 | |
| Listening Outline | |
| Theme and Variations | |
| Symphony No.94 in G Major (Surprise) | |
| Listening Outline | |
| Minuet and Trio | |
| Eine kleine Nachtmusik (A Little Night Music) | |
| Listening Outline | |
| Rondo | |
| String Quartet in C Minor, Op.18, No.4 | |
| Listening Outline | |
| The Classical Symphony | |
| The Classical Concerto | |
| Classical Chamber Music | |
| Joseph Hadyn | |
| Haydn''s Music | |
| Trumpet Concerto in E Flat Major: Third Movement | |
| Wolfgang Amadeus Mozart | |
| Mozart''s Music | |
| Don Giovanni | |
| Act I: Excerpt from Opening Scene | |
| Act 1: Madamina (Leporello''s catalog aria) | |
| Symphony No.40 in G. Minor, K.550 | |
| Piano Concerto No.23 in A Major, K.488 | |
| Listening Outline: First Movement | |
| Performance Perspective: Pianist Murray Perahia playing and conducting the first movement of Mozart''s Piano Concerto in A Major, K. 48812. Ludwig Van Beethoven | |
| Beethoven''s Music | |
| Piano Sonata in C Minor, Op.13 (Pathp¼tique) | |
| Symphony No.5 in C Minor, Op.67 | |
| Listenig Outlines: First Movement; Second Movement | |
| The Romantic Period | |
| Romanticism in Music (1820-1900) | |
| Characteristics of Romantic Music | |
| Individuality of Style | |
| Expressive Aims and Subjects | |
| Nationalism and Exoticism | |
| Program Music | |
| Expressive Tone Color | |
| Colorful Harmony | |
| Expanded Range of Dynamics, Pitch, and Tempo | |
| Forms: Miniature and Monumental | |
| Romantic Composers and Their Public | |
| The Art Song | |
| Strophic and Through-Composed Form | |
| The Song Cycle | |
| Franz Schubert | |
| Schubert''s Music | |
| Erlkp nig (The Erlking) | |
| Vocal Music Guide | |
| Robert Schumann | |
| Robert Schumann''s Music | |
| Carnaval | |
| Clara Wieck Schumann | |
| Clara Wieck Schumann''s Music | |
| Liebst du um Schp nheit (If you love for beauty) | |
| Vocal Music Guide | |
| Frp¼dp¼ric Chopin | |
| Chopin''s Music | |
| Nocturne in E Flat Major, Op.9, No.2 | |
| Listening Outline | |
| p0tude in C Minor, Op.9, No.12 | |
| Listening Outline | |
| Polonaise in A Flat Major, Op.538. Franz Liszt | |
| Liszt''s Music | |
| Transcendental p0tude No.10 in F Minor | |
| Felix Mendelssohn | |
| Mendelssohn''s Music | |
| Concerto for Violin and Orchestra in E Minor, Op.64: First Movement | |
| Program Music | |
| Hector Berlioz | |
| Berlioz''s Music | |
| Symphonie fantastique (Fantastic Symphony) | |
| Listening Outline: Fourth Movement | |
| Nationalism in Nineteenth-Century Music | |
| The Moldau, by Bed | |
| Yich Smetana | |
| Listening Outline | |
| Antonin Dvo p-ík | |
| Symphony No.9 in E Minor (From the New World) | |
| Listening Outline | |
| Peter Ilyich Tchaikovsky | |
| Tchaikovsky''s Music | |
| Romeo and Juliet, Overture-Fantasy | |
| Johannes Brahms | |
| Brahm''s Music | |
| Symphony No.3 in F Major, Op. 90 | |
| Listening Outline: Third Movement | |
| Giuseppe Verdi | |
| Verdi''s Music | |
| Rigoletto | |
| Giacomo Puccini | |
| La Bohp¿me | |
| Vocal Music Guide: Act 1: From Mimi''s entrance through Che gelida manina | |
| Performance Perspective: Tenor Luciano Pavarotti singing the part of Rodolfo in Puccini''s La Boheme | |
| Richard Wagner | |
| Wagner''s Music | |
| Die Walkp+re (The Valkyrie) | |
| Vocal Music Guide: Act I, Love Scene | |
| Conclusion | |
| The Twentieth Century | |
| Performance Perspective: Bessie Smith | |
| Musical Styles: 1900-19501900-1945: An Age of Musical Diversity | |
| Characteristics of Twentieth-Century Music | |
| Tone Color | |
| Harmony(Consonance and dissonance; New chord structures) | |
| Alternatives to the Traditional Tonal System | |
| Rhythm | |
| Melody | |
| Music and Musicians in Society | |
| Impressionism and Symbolism | |
| French Impressionist PaintingF | |
| Table of Contents provided by Publisher. All Rights Reserved. |