More Music, a better experience. Experience Musicis an innovative program that best meets the fundamental challenges of the music appreciation course. Through its thoughtful listening structure in which students experience one musical piece three times within each chapter, students develop stronger listening skills. More music means 3 CDs with all of the "featured listening" selections accompany each new text. And, more music means Connect Music, a new digital solution that streams all of the program's selections within animated listening guides that can be paired with unique, assignable interactivities. Combined, these elements help students develop a deeper understanding that will prepare them for a lifetime of musical experiences.

Prelude: The Fundamentals of Music
Chapter 1 Elements of Music: Sound, Rhythm, Melody, and Harmony
Sound
Rhythm
Melody
Harmony
Chapter 2 Elements that Structure Music—Key, Texture, and Form
Key
Texture
Form
Chapter 3 Musical Instruments and Ensembles
Voices and Vocal Ensembles
Stringed Instruments
Plucked Stringed Instruments
Bowed Stringed Instruments
Woodwinds
Brasses
Percussion Instruments
Deﬁnite Pitch
Indeﬁnite Pitch
Keyboard Instruments
Electronic Instruments
Instruments in Non-Western Cultures
Instrumental Ensembles
Chamber Ensembles
The Orchestra
The Wind Ensemble
The Conductor
Prelude: The Culture of Medieval Europe
Chapter 4 Medieval Music
Medieval Sacred Music
Gregorian Chant
Listening Guide: “Dies irae” (“Day of Wrath”), beginning section, by Anonymous
Hildegard of Bingen
MusiCurious: Medieval Nuns’ Daily Lives
Listening Guide: “O pastor animarum” (“Shepherd of Souls”), by Hildegard of Bingen
The Mass
Polyphony and Measured Rhythm
Featured Listening: “Viderunt omnes” (“All Have Seen”), beginning section, by Léonin Guillaume de Machaut
Listening Guide: “Agnus Dei” (“Lamb of God”) from Messe de Nostre Dame (Mass of Our Lady), by Guillaume de Machaut
Hearing the Difference “Dies irae” and Machaut’s “Agnus Dei” 41
Medieval Secular Music
Improvised Accompaniment to Monophonic Songs
Listening Guide: “Tant m’abelis” (“So Much I Love”), by Berenguier de Palou
The Motet
Characteristics of Medieval Music
Prelude: The Renaissance: The Rebirth of Humanism
Chapter 5 Renaissance Music
Renaissance Sacred Music
Josquin des Prez
Featured Listening: “Ave Maria” (“Hail, Mary”), by Josquin des Prez
Giovanni Pierluigi da Palestrina
Listening Guide: “Kyrie” (“Lord”) from Missa Papae Marcelli (Pope Marcellus Mass), by Giovanni Pierluigi da Palestrina
Hearing the Difference Josquin’s “Ave Maria” and Palestrina’s “Kyrie”
Renaissance Secular Music
The Madrigal in Italy
MusiCurious: Home Entertainment during the Renaissance
The Madrigal in England
Listening Guide: “Fair Phyllis,” by John Farmer
The Chanson in France
The Lied in Germany
Lute Songs
Listening Guide: “Flow My Tears,” by John Dowland
Renaissance Instrumental Music
Listening Guide: Three Dances from Terpsichore, by Michael Praetorius
Characteristics of Renaissance Music
Prelude: The Triumph of Baroque Style 64
Chapter 6 Baroque Opera
The Birth of Opera
Baroque Vocal Styles
MusiCurious: What Makes Opera Singers into International Stars
Claudio Monteverdi
Listening Guide: “Tu se’ morta” (“You Are Dead”) from Act Two of Orfeo, by Claudio Monteverdi
Opera Outside of Italy
Featured Listening: “Thy Hand, Belinda” and “When I Am Laid in Earth” from Act Three of Dido and Aeneas, by Henry Purcell
Hearing the Difference: Dowland’s “Flow My Tears” and Purcell’s “When I Am Laid in Earth”
Chapter 7 Cantata
The Secular Cantata
The Chorale
The Sacred Cantata
Listening Guide: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, fourth movement, by Johann Sebastian Bach
Chapter 8 Oratorio
Featured Listening: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, seventh movement, by Johann Sebastian Bach
Johann Sebastian Bach
Oratorio
MusiCurious: Oratorio or Opera?: Know the Difference
George Frideric Handel
Messiah
Listening Guide: “Comfort Ye” from Messiah, by George Frideric Handel
Featured Listening: “Ev’ry Valley” from Messiah, by George Frideric Handel
Listening Guide: “Hallelujah” from Messiah, by George Frideric Handel
The Passion
Hearing the Difference: Bach’s “Wachet auf,” Cantata no. 140, seventh movement, and Handel’s “Hallelujah” Chorus
Chapter 9 Baroque Solo and Chamber Music
Keyboard Music
Fugue
Featured Listening: “The Little Fugue in G Minor,” by Johann Sebastian Bach
Suite
Listening Guide: “Bourree I” from Cello Suite no. 3 in C major, BWV 1009, by
Johann Sebastian Bach
MusiCurious: The King of Instruments
Baroque Sonata
Elisabeth-Claude Jacquet de la Guerre
Listening Guide: “Aria,” sixth movement, from Sonata in D Minor for Violin and Basso Continuo, by Elisabeth-Claude Jacquet de la Guerre
Chapter 10 The Baroque Orchestra
The Orchestra
Listening Guide: “Minuet” from Water Music, by George Frideric Handel
MusiCurious: How Baroque Players and Singers “Decorate” Music
Concerto Grosso
Listening Guide: Brandenburg Concerto no. 5, ﬁrst movement, by Johann
Sebastian Bach
Solo Concerto
Antonio Vivaldi
Featured Listening: “Spring,” ﬁrst movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
MusiCurious: Attending a Concert
Listening Guide: “Spring,” second movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
Listening Guide: “Spring,” third movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi
Characteristics of Baroque Music
Prelude: The Classical Era: Reason and Revolution
Chapter 11 The Classical Symphony
The Form of Classical Multimovement Works
Single-Movement Sonata Form
Theme and Variations Form
Minuet and Trio Form
MusiCurious: Why Composers Write “Boring” Slow Movements
The Classical Orchestra
Wolfgang Amadeus Mozart
MusiCurious: What Does the Conductor Do?
Listening Guide: Symphony no. 40 in G Minor, ﬁrst movement, by Wolfgang Amadeus Mozart
Hearing the Difference: Vivaldi’s “Spring,” ﬁrst movement, and Mozart’s Symphony no. 40 in G Minor, ﬁrst movement
Featured Listening: “Surprise,” Symphony no. 94 in G Major, second movement, by Franz Joseph Haydn
Listening Guide: Symphony no. 40 in G Minor, third movement, by Wolfgang Amadeus Mozart
Chapter 12 The Classical Concerto
Concerto Soloists
Double-Exposition Sonata Form
Featured Listening: Piano Concerto no. 23 in A Major, ﬁrst movement, K. 488, by Wolfgang Amadeus Mozart
Hearing the Difference: Bach’s Brandenburg Concerto no. 5, ﬁrst movement, and Mozart’s Piano Concerto no. 23, ﬁrst movement
Chapter 13 Classical Chamber Music
Chamber Sonatas
Franz Joseph Haydn
MusiCurious: Chamber Music Concerts
Featured Listening: String Quartet op. 33, no. 3 (“The Bird”), fourth movement, by Franz Joseph Haydn
Rondo Form
A Sonata for Flute and Guitar
Listening Guide: Grande Sonata no. 85 for ﬂute and guitar, third movement, Scherzo, by Mauro Giuliani
Chapter 14 Classical Vocal Music
Haydn’s Vocal Music
Classical Opera
The Marriage of Figaro
MusiCurious: Classical and Romantic Opera (The Castrato Bows Out)
The Characters
The Plot
Listening Guide: “Non so più cosa son” (“I Don’t Know What I Am Anymore”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart
Featured Listening: “Non più andrai” (“No More Will You”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart
Chapter 15 The Music of Beethoven
Ludwig van Beethoven
Featured Listening: Symphony no. 5 in C Minor, ﬁrst movement, by Ludwig van Beethoven
Listening Guide: Symphony no. 5 in C Minor, second movement, by Ludwig van Beethoven
Listening Guide: Symphony no. 5 in C Minor, third movement, by Ludwig van Beethoven
Listening Guide: Symphony no. 5 in C Minor, fourth movement, by Ludwig van Beethoven
The Classical Piano
Hearing the Difference: Haydn’s Symphony no. 94, second movement, and Beethoven’s Symphony no. 5, second movement
Listening Guide: “Moonlight,” Piano Sonata no. 14 in C-Sharp Minor, op. 27, no. 2, ﬁrst movement, by Ludwig van Beethoven
Characteristics of Classical Music
Prelude: Music of the Romantic Era
Chapter 16 Romantic Songs
The Salon
Art Song
Franz Schubert
Featured Listening: “Erlkönig” (“King of the Elves”), by Franz Schubert
Robert and Clara Schumann
Listening Guide: “Im wunderschönen Monat Mai” (“In the Wonderfully Lovely Month of May”) from Dichterliebe (A Poet’s Love), by Robert Schumann
Listening Guide: “Leibst du um Schönheit” (“If You Love for Beauty’s Sake”), by Clara Wieck Schumann
MusicCurious: How Does a Composer Write a Piece of Music?
Chapter 17 Romantic Piano Music
Frédéric Chopin and Franz Liszt
Featured Listening: Nocturne, op.9, no.2, by Frédéric Chopin
Listening Guide: Transcendental Étude No. 10 in F minor by Franz Liszt
Chapter 18 Romantic Program Music
MusiCurious: Does the Listener need to know the Program in Program Music?Hector Berlioz
Symphonie fantastique
Featured Listening: Symphonie fantastique, ﬁfth movement, “Dream of a Witches’ Sabbath,” by Hector Berlioz
Hearing the Difference: Beethoven’s Symphony no. 5, ﬁrst movement, and Berlioz’s Symphonie fantastique, ﬁfth movement
Other Program Music
Chapter 19 Nationalism in the Romantic Era
Bedřich Smetana
Featured Listening: “The Moldau,” by Bedřich Smetana
Chapter 20 The Concert Overture
Peter Ilyich Tchaikovsky
Romeo and Juliet Overture
MusiCurious: Romeo and Juliet: The Alternate Endings
Featured Listening: Romeo and Juliet Overture, by Peter Ilyich Tchaikovsky
Chapter 21 The Romantic Concerto
Felix Mendelssohn and Fanny Mendelssohn Hensel
Mendelssohn’s Concerto
Featured Listening: Violin Concerto in E Minor, op. 64, ﬁrst movement, by Felix Mendelssohn
Hearing the Difference: Vivaldi’s “Spring,” ﬁrst movement, and Mendelssohn’s Violin Concerto, ﬁrst movement
Chapter 22 Romantic Choral Music
Johannes Brahms
Brahms’s Requiem
Featured Listening: Ein Deutsches Requiem (A German Requiem), op. 45, fourth movement, “How Lovely Is They Dwelling Place,” by Johannes Brahms
Chapter 23 The Late Romantic Symphonies
The Romantic Symphony
Listening Guide: Symphony no. 4, fourth movement, by Johannes BrahmsAntonín Dvořák
Featured Listening: From the New World, Symphony no. 9 in E Minor, fourth movement, by Antonín Dvořák
Other Late Romantics
Listening Guide: Symphony no. 1 in D Major, third movement, by Gustav Mahler
Chapter 24 Romantic Opera in France and Italy
French Opera
Italian Opera
Giuseppe Verdi
MusiCurious: Attending an Opera
Featured Listening: “O terra, addio” (“Oh Earth, Goodbye”) from Aida, by Giuseppe Verdi
Giacomo Puccini
Hearing the Difference: Mozart’s “Non più andrai” and Puccini’s “Si, mi chiamano Mimì”
Listening Guide: “Sì, mi chiamano Mimì” (“Yes, They Call Me Mimi”) from La Bohème, by Giacomo Puccini
Chapter 25 Romantic German Opera
Richard Wagner
MusiCurious: Opera Productions
Featured Listening: “Grane, mein Ross!” (“Grane, my horse!”) and ﬁnale to Götterdämmerung from Der Ring des Nibelungen, by Richard Wagner
Characteristics of Romantic Music
Prelude: The Early Twentieth Century
Chapter 26 Impressionism and Symbolism
Claude Debussy
Featured Listening: Prélude à L’après-midi d’un faune (Prelude to The Afternoon of a Faun), by Claude Debussy
Hearing the Difference: Smetana’s “The Moldau” and Debussy’s Prélude à L’après-midi d’un faune
Maurice Ravel
Chapter 27 Primitivism and Neoclassicism
Primitivism
Igor Stravinsky
Featured Listening: Le Sacre du printemps (The Rite of Spring), Introduction, “Auguries of Spring—Dances of the Young Girls,” and “The Ritual of Abduction,” by
Igor Stravinsky
MusiCurious: Music for Ballet
Neoclassicism
Listening Guide: Concerto in E-Flat Major, the Dumbarton Oaks Concerto, ﬁrst movement, by Igor Stravinsky
Chapter 28 Eastern European Nationalism
Béla BartókFeatured Listening: Concerto for Orchestra, fourth movement, “Interrupted
Intermezzo,” by Béla Bartók
Chapter 29 Germanic Expressionism and the Development of Serialism
Arnold Schoenberg
Featured Listening: “Der Mondﬂeck” (“Moonﬂeck”), no. 18, from Pierrot Lunaire (Moonstruck Pierrot), by Arnold Schoenberg
MusiCurious: How is it Great Art if it is Ugly?
Other Serial Composers
Listening Guide: Five Pieces for Orchestra, op. 10, third movement, by Anton Webern
Characteristics of Twentieth-Century Music (to World War II)
Prelude: American Innovations in the Arts 278
Chapter 30 American Music Before World War II
The Seventeenth Century
The Eighteenth Century
Featured Listening: “When Jesus Wept,” by William Billings
The Nineteenth Century
Listening Guide: “Jeanie with the Light Brown Hair,” by Stephen Foster
After the Civil War
Listening Guide: “Ah, Love, but a Day,” by Amy Beach
Canadian Music
Chapter 31 Early Jazz Styles
Origins of Jazz
Listening Guide: “Village Celebration,” by Mende Tribe of Sierra Leone
Ragtime
Listening Guide: “Maple Leaf Rag,” by Scott Joplin
The Blues
MusiCurious: Improvisation
Featured Listening: “Lost Your Head Blues,” by Bessie Smith
Jazz Styles
Hearing the Difference: Foster’s “Jeanie with the Light Brown Hair” and Smith’s “Lost Your Head Blues”
Listening Guide: “It Don’t Mean a Thing If It Ain’t Got That Swing,” by Duke Ellington
Chapter 32 Developments in Jazz in the Late Twentieth Century
Bebop
Featured Listening: “Ko Ko,” by Charlie Parker
Cool Jazz
MusiCurious: Attending A Jazz Concert
New Styles in the 1960s
Fusion
Listening Guide: “Miles Runs the Voodoo Down” (beginning), by Miles Davis 308
Hearing the Difference: Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”
Chapter 33 American Classical Music Inﬂuenced by Early Jazz
George Gershwin
Listening Guide: Rhapsody in Blue, by George Gershwin
William Grant Still
Featured Listening: Afro-American Symphony, ﬁrst movement, by William Grant Still
Chapter 34 Twentieth-Century American Classical Styles
Charles Ives
Listening Guide: The Unanswered Question, by Charles Ives
Aaron Copland
Featured Listening: “Fanfare for the Common Man,” by Aaron Copland
Ellen Taaffe Zwilich
Listening Guide: Symphony no. 1, ﬁrst movement, by Ellen Taaffe Zwilich
Hearing the Difference: Mozart’s Symphony no. 40, ﬁrst movement, and Zwilich’s Symphony no. 1, ﬁrst movement
Chapter 35 Musical Theater
Broadway Musicals
Leonard Bernstein
Featured Listening: “America” from West Side Story, by Leonard Bernstein Later Musicals
MusiCurious: Musicals and Operas: Similar, but Different
Chapter 36 Film Music
The Earliest Film Music
Early Sound Films
Later Film Scoring Practices
Featured Listening: “Main Theme” from Star Wars, by John Williams
Trends in Movie Music
Characteristics of Music in America
Prelude: New Ideas and Styles from Twentieth-Century Internationalism 344
Chapter 37 World Musics
Musical Elements in Non-Western Musics
Pitch and Scale Systems
Harmony
Rhythm
Instruments
Music from Indonesia
Featured Listening: “Srepegan (slendro nim),” by Gamelan Ensemble
Music from China
Listening Guide: “Moonlight on the Ching Yang River,” by Yo Su-Nan
Music from India
Listening Guide: Folk Melody Based on Raga Des, by Baluji Shrivastav
Music from Africa
Ewe Drum Ensembles
Listening Guide: “Gadzo” (“Kayiboe, the Child Is Not Matured”), by Ewe of Ghana
Chapter 38 Post–World War II Innovations
Henry Cowell
Featured Listening: “The Banshee,” by Henry Cowell
John Cage
Listening Guide: Sonata V from Sonatas and Interludes for Prepared Piano, by John Cage
Hearing the Difference: Wayang kulit Gamelan Ensemble’s “Srepegan (slendro nim)” and Cage’s Sonata V
Electronic Music
Edgard Varèse
Listening Guide: “Poème électronique” (“Electronic Poem”), by Edgard Varèse
Terry Riley
Listening Guide: “In C,” by Terry Riley
MusiCurious: Performing an Aleatoric Work
Chapter 39 Minimalism
Philip Glass
Featured Listening: Company, second movement, by Philip Glass
Hearing the Difference: Haydn’s String Quartet, fourth movement, and Glass’s Company, second movement
Steve Reich
Listening Guide: Electric Counterpoint, third movement, by Steve Reich
John Adams
Listening Guide: “Short Ride in a Fast Machine,” by John Adams
Characteristics of Non-Western-Inﬂuenced Music
Glossary
Credits
Index
Note: A chapter on Rock Music is available for free download on the OLC

What is included with this book?

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Amazon no longer offers textbook rentals. We do!

Experience Music, with 6 CDs and Connect Access Card

Experience Music, with 6 CDs and Connect Access Card

9780077887612

0077887611

Summary

Table of Contents

Chapter 1 Elements of Music: Sound, Rhythm, Melody, and Harmony

Sound

Rhythm

Melody

Harmony

Chapter 2 Elements that Structure Music—Key, Texture, and Form

Key

Texture

Form

Chapter 3 Musical Instruments and Ensembles

Voices and Vocal Ensembles

Stringed Instruments

Plucked Stringed Instruments

Bowed Stringed Instruments

Woodwinds

Brasses

Percussion Instruments

Deﬁnite Pitch

Indeﬁnite Pitch

Keyboard Instruments

Electronic Instruments

Instruments in Non-Western Cultures

Instrumental Ensembles

Chamber Ensembles

The Orchestra

The Wind Ensemble

The Conductor

Prelude: The Culture of Medieval Europe

Chapter 4 Medieval Music

Medieval Sacred Music

Gregorian Chant

Listening Guide: “Dies irae” (“Day of Wrath”), beginning section, by Anonymous

Hildegard of Bingen

MusiCurious: Medieval Nuns’ Daily Lives

Listening Guide: “O pastor animarum” (“Shepherd of Souls”), by Hildegard of Bingen

The Mass

Polyphony and Measured Rhythm

Featured Listening: “Viderunt omnes” (“All Have Seen”), beginning section, by Léonin Guillaume de Machaut

Listening Guide: “Agnus Dei” (“Lamb of God”) from Messe de Nostre Dame (Mass of Our Lady), by Guillaume de Machaut

Hearing the Difference “Dies irae” and Machaut’s “Agnus Dei” 41

Medieval Secular Music

Improvised Accompaniment to Monophonic Songs

Listening Guide: “Tant m’abelis” (“So Much I Love”), by Berenguier de Palou

The Motet

Characteristics of Medieval Music

Prelude: The Renaissance: The Rebirth of Humanism

Chapter 5 Renaissance Music

Renaissance Sacred Music

Josquin des Prez

Featured Listening: “Ave Maria” (“Hail, Mary”), by Josquin des Prez

Giovanni Pierluigi da Palestrina

Listening Guide: “Kyrie” (“Lord”) from Missa Papae Marcelli (Pope Marcellus Mass), by Giovanni Pierluigi da Palestrina

Hearing the Difference Josquin’s “Ave Maria” and Palestrina’s “Kyrie”

Renaissance Secular Music

The Madrigal in Italy

MusiCurious: Home Entertainment during the Renaissance

The Madrigal in England

Listening Guide: “Fair Phyllis,” by John Farmer

The Chanson in France

The Lied in Germany

Lute Songs

Listening Guide: “Flow My Tears,” by John Dowland

Renaissance Instrumental Music

Listening Guide: Three Dances from Terpsichore, by Michael Praetorius

Characteristics of Renaissance Music

Prelude: The Triumph of Baroque Style 64

Chapter 6 Baroque Opera

The Birth of Opera

Baroque Vocal Styles

MusiCurious: What Makes Opera Singers into International Stars

Claudio Monteverdi

Listening Guide: “Tu se’ morta” (“You Are Dead”) from Act Two of Orfeo, by Claudio Monteverdi

Opera Outside of Italy