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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 | |