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listen seventh edition

For Bedford/St. Martin’s

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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

To the memory of Vivian Kerman

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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