listen seventh edition music textbook - ludwig van - baixardoc
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For Bedford/St. Martin’s
Developmental Editor: Caroline ThompsonSenior Production Editor: Karen S. BaartSenior Production Supervisor: Jennifer L. PetersonSenior Marketing Manager: Adrienne PetsickAssociate Editor: Kate MayhewProduction Assistant: David AyersCopyeditor: Janet RenardPhoto Researcher: Elaine BernsteinPermissions Manager: Kalina Ingham HintzText Design: Anna Palchik and Joyce Weston DesignPage Layout: DeNee Reiton SkipperCover Design: Marine MillerCover Art: David Park, Violinist, 1960. Courtesy of the Estate of David Park and Hackett Mill, San FranciscoComposition: Aptara®, Inc.Music Composition: A-R Editions, Inc.Printing and Binding: RR Donnelley and Sons
President: Joan E. FeinbergEditorial Director: Denise B. WydraEditor in Chief: Karen S. HenryDirector of Marketing: Karen R. SoeltzDirector of Production: Susan W. BrownAssociate Director, Editorial Production: Elise S. KaiserManaging Editor: Elizabeth M. Schaaf
Library of Congress Control Number: 2010929007
Copyright © 2012, 2008, 2004, 2000 by Bedford/St. Martin’s.
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher.
Manufactured in the United States of America.
6 5 4 3 2 1f e d c b a
For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)
ISBN: 978–0–312–59347–6 (paperback)ISBN: 978–0–312–59346–9 (hardcover)
Acknowledgments
Acknowledgments and copyrights are printed at the back of the book on pages 429–33, which constitute an extension of the copyright page. It is a violation of the law to reproduce these selections by any means whatsoever without the written permission of the copyright holder.
L I S T E Ns e v e n t h e d i t i o n
jo s e p h k e r m a nUniversity of California, Berkeley
g a ry to m l i n s o nUniversity of Pennsylvania
with
v i v i a n k e r m a n
b e d f o r d / s t. m a rt i n ’ sBoston ◆ New York
About the Authors
Joseph Kerman and Gary Tomlinson are leading musicologists and music
educators. Kerman, who with his wife, Vivian Kerman, was Listen’s original
author, is Professor Emeritus at the University of California at Berkeley, where
he served for two terms as chair of the Music Department. Tomlinson has done
the same at the University of Pennsylvania. Both are known as inspirational
and wide-ranging teachers; between them, their course offerings encompass
harmony and ear training, opera, world music, interdisciplinary studies, semi-
nars in music history and criticism, and — many times — Introduction to Music
for nonmajor students.
Kerman’s books include Opera as Drama (second edition, 1988), Contem-
plating Music (1985), and studies of Beethoven and William Byrd. His lectures
as Charles Eliot Norton Professor of Poetry at Harvard in 1997–1998 were
published as Concerto Conversations (1999); his latest book is Opera and the
Morbidity of Music (2008). Tomlinson, a former MacArthur Fellow, is the
author of Monteverdi and the End of the Renaissance (1987), Music in Renais-
sance Magic (1993), Metaphysical Song: An Essay on Opera (1999), and The
Singing of the New World (2007). His 2009 Wort Lectures at the University of
Cambridge concerned the evolutionary emergence of music.
vi
Contents in Brief
Preface To the Instructor ix
Introduction To the Student xxv
u n i t I Fundamentals 3
Prelude A Musical Thunderstorm by Richard Wagner 4
1 Rhythm, Meter, and Tempo 7
2 Pitch, Dynamics, and Tone Color 12
MUSICAL INSTRUMENTS 15
3 Scales and Melody 25
4 Harmony, Texture, Tonality, and Mode 32
5 Musical Form and Musical Style 39
u n i t I I Early Music: An Overview 47
6 The Middle Ages 48
7 The Renaissance 65
8 The Early Baroque Period 83
u n i t I I I The Eighteenth Century 101
9 Prelude The Late Baroque Period 102
10 Baroque Instrumental Music 119
11 Baroque Vocal Music 139
12 Prelude Music and the Enlightenment 154
13 The Symphony 166
14 Other Classical Genres 186
u n i t I V The Nineteenth Century 209
15 Beethoven 211
16 Prelude Music after Beethoven: Romanticism 223
17 The Early Romantics 238
18 Romantic Opera 260
19 The Late Romantics 281
u n i t V The Twentieth Century and Beyond 305
20 Prelude Music and Modernism 307
21 Early Modernism 317
22 Alternatives to Modernism 339
23 The Late Twentieth Century 356
24 Music in America: Jazz and Beyond 377
Appendix A Time Lines 411
Appendix B Musical Notation 417
Glossary of Musical Terms 421
Index 434
vii
Listening Charts
1* Wagner, Prelude to The Valkyrie 5
2* Britten, The Young Person’s Guide to the Orchestra 45
3* Vivaldi, Violin Concerto in G, fi rst movement 122
4* Vivaldi, Violin Concerto in G, second movement 126
5* Bach, Brandenburg Concerto No. 5, fi rst movement 129
6* Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major 135
7* Mozart, Symphony No. 40 in G Minor, fi rst movement 173
8* Haydn, Symphony No. 95, second movement 179
9* Haydn, Symphony No. 95, third movement 182
10* Haydn, Symphony No. 95, fourth movement 185
11 Mozart, Piano Concerto No. 23 in A, K. 488, fi rst movement 191
12* Beethoven, Symphony No. 5, fi rst movement 218
13* Beethoven, Symphony No. 5, complete work 220
14* Berlioz, Fantastic Symphony, fi fth movement 258
15* Tchaikovsky, Overture-Fantasy, Romeo and Juliet 285
16 Brahms, Violin Concerto, third movement 294
17* Mahler, Symphony No. 1, third movement, Funeral March 299
18* Debussy, Clouds 320
19* Stravinsky, The Rite of Spring, from Part I 324
20* Ives, “The Rockstrewn Hills” 338
21 Ravel, Piano Concerto in G, fi rst movement 342
22 Bartók, Music for Strings, Percussion, and Celesta, second movement 346
23 Prokofi ev, Alexander Nevsky Cantata, “The Battle on Ice” 353
24 Ligeti, Lux aeterna 364
25 Reich, Music for 18 Musicians, opening 369
*� Access Interactive Listening Charts for these works at bedfordstmartins.com/listen
viii
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