Music: The Art of Listening

8. Auflage 2009
ISBN: 978-0-07-340142-3
Verlag: McGraw-Hill Education

Buch, Englisch, 480 Seiten, Format (B × H): 203 mm x 251 mm, Gewicht: 782 g

Music: The Art of Listening weaves the story of great music into the fabric of cultural and social history to provide the reader with a context for developing appreciation. In a clear and accessible format, Jean Ferris and new coauthor Larry Worster introduce music from across several centuries, helping the listener develop techniques to fully appreciate music along the way. Using listening guides, insights into the composers, and illustrations from other arts, Music: The Art of Listening provides every student with a way to engage with great music and to carry that engagement into their wider listening world.

Autoren/Hrsg.

Ferris, Jean

Worster, Larry

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

Table of ContentsListening ExamplesOptional Listening GuidesPreface OverturePART ONE: BASIC CONCEPTSPart One OpenerChapter 1. SoundPitchNaming PitchesNotating PitchesIntervalsDynamicsListening Example 1. Richard Strauss: Introduction to Also sprach ZarathustraSummaryCritical ThinkingTerms to ReviewEncoreChapter 2. RhythmTempoMeterListening Example 2. Piotr Ilyich Tchaikovsky: Russian Dance (Trepak) from The NutcrackerConducting PatternsSummaryCritical ThinkingTerms to ReviewEncoreConnection: Rhythm in the Music of Africa and IndiaChapter 3. MelodyMelodic TypesScalesMajor and Minor ScalesTonic NoteChromatic ScaleWhole-Tone ScalePentatonic ScaleListening Example 3. Anonymous: "Amazing Grace"SummaryCritical ThinkingTerms to ReviewEncoreConnection: Melody in China and in IndiaChapter 4. HarmonyChordsTonalityConsonance and DissonanceListening Example 4. Charles Ives: "London Bridge Is Fallen Down" from Old Home Days SuiteTextureSummaryCritical ThinkingTerms to ReviewEncoreChapter 5. TimbreVocal TimbresInstruments of the OrchestraString InstrumentsWoodwindsBrass InstrumentsPercussion InstrumentsListening Example 5. Benjamin Britten: The Young Person's Guide to the OrchestraKeyboard InstrumentsHarpsichordPianoPipe OrganElectronic InstrumentsElectronic SynthesizerMIDISummaryCritical ThinkingTerms to ReviewEncoreConnection: Music Timbres around the WorldChapter 6. Attending PerformancesPerformance ProceduresOrchestral PerformancesOrchestral FormsThe Printed ProgramBand PerformancesOther PerformancesChamber MusicChoral MusicDanceMusical TheaterJazzSummaryCritical ThinkingTerms to ReviewPART TWO: ANCIENT GREECE, THE MIDDLE AGES, THE RENAISSANCEPart Two OpenerChapter 7. The Music of Ancient GreeceHistorical perspectiveMusic in Greek LifeThe Greeks' Lasting InfluenceMusic and WordsStories and MythsThe Philosophy of MusicScientific Theories of MusicClassicism versus Romanticism in ArtAn Interrupted LegacySummaryCritical ThinkingTerms to ReviewConnection: Extramusical Perceptions in Several CulturesChapter 8. Medieval MusicHistorical PerspectiveArtistic StyleEarly Christian MusicModesFurther Characteristics of Medieval MusicGregorian ChantListening Example 6. Alleluia: "Pascha nostrum" from the Dominica Resurrectionis for Easter Sunday.Hildegard of Bingen (1098-1179)Listening Example 7. Hildegard of Bingen: "Nunc aperuit nobis"Rise of PolyphonyThe Fourteenth CenturyArtistic StyleMusicSecular MusicListening Example 8. Anon: "Sumer is icumen in"Sacred Music Guillaume de Machaut (ca. 1300-1377)Listening Example 9. Guillaume de Machaut: Gloria from the Messa de Nostre DameSummaryCritical ThinkingTerms to ReviewKey FiguresEncoreConnection: Islamic ChantChapter 9. The Renaissance: General CharacteristicsHistorical PerspectiveThe ReformationThe Counter-ReformationArtistic StylePaintingArchitectureSculptureMusicTimbreTextureRenaissance ModesSummaryCritical ThinkingTerms to ReviewKey FiguresChapter 10. Sacred Music of the RenaissanceRenaissance MotetJosquin Desprez (c. 1445-1521)Renaissance MassGiovanni Pierluigi da Palestrina (c. 1524-1594)Listening Example 10. Palestrina: Agnus Dei I from the Missa Papae Marcelli (Mass for Pope Marcellus)Protestant Worship MusicChoraleListening Example 11. Martin Luther: "Ein' feste Burg" ("A Mighty Fortress")Psalm TunesSummaryCritical ThinkingTerms to Review

Über Autor(innen)

After receiving her MA in Music History and Literature at Arizona State University, Jean Ferris taught Music History and Appreciation at ASU. In addition to her work at the University, she has been involved with the music community by serving as a church choir director, singing with the Phoenix Symphony Chorale, playing the organ, and touring to Japan with her high school handbell choir--apparently the first handbell choir to perform in that country.Ferris is the author of two books: Music: The Art of Listening and America's Musical Landscape. Larry Worster (B.S., St. Lawrence University; B.A., University of Colorado at Boulder; M.M. University of Colorado at Boulder; Ph.D., University of Colorado at Boulder) is a Professor of Music at Metropolitan State College of Denver. He taught previously at the University of Colorado, Regis College, and Denver University. He performed for ten years (1984-94) in the Irish folk ensemble Colcannon. Dr. Worster has been active in the leadership of the Rocky Mountain Chapter of the College Music Society, the Society for American Music, and the Board of Directors of the Boulder Bach Festival. He is the author of Cecil Effinger: A Colorado Composer published in 1997 by Scarecrow Press. He has published articles in the American Music Research Center Journal and the Sonneck Society Bulletin and presented papers at conferences of the American Musicological Society, Sonneck Society, and the College Music Society. His ChartCreator software is published as shareware at www.chartcreator.com. Six customized sets of ChartPlayer software for the support of general studies music textbooks have been published by McGraw-Hill.