In Performance

In Performance teaches music appreciation by focusing on how all listeners first encounter music--through its performance. By emphasizing where music is heard or performed, this text aims to create lifelong, active music listeners who understand the value of different types of music and the impact that it has on their everyday lives. In addition to covering the standard Western music that other music appreciation texts do, In Performance also discusses concert band music, film music, ballet music, jazz, and popular music. Author Wayne Bailey connects the history of music--why it was created and how it was first used--to how and where we hear music now and what it means to us in the present day.

Table of Contents:
Preface: Structure of the Text Listening Guides Features of the Text Introduction: Listening to Music Musical Labels How is Music Created? What to Expect at a Performance How to Listen to Music -- Technical Listening: -- Sensuous Listening: -- Expressive Listening: -- Musically Aware Listening: UNIT 1. THE FUNDAMENTALS OF MUSIC 1. How We Construct Music Learning Objectives Key Concepts -- Melody -- Rhythm -- Harmony -- Texture -- Timbre -- Form -- Expression -- Chapter Review ---- Audio Review: ---- How Am I Doing?: ---- Key terms: 2. How We Make Music Learning Objectives Key Concepts -- The Human Voice -- Instrument Classifications -- Instrument Families ---- String Instruments: ---- Woodwind Instruments: ---- Brass Instruments: ---- Percussion Instruments: ---- Keyboard Instruments: -- Electronic Instruments -- Ensembles LISTENING GUIDE 2.1 The Young Person's Guide to the Orchestra, Benjamin Britten ---- Audio Review ---- How Am I Doing? ---- Key terms 3. How Music Has Changed Over Time Learning Objectives Key Concepts -- Music of the Middle Ages, 450-1450 -- Music of the Renaissance, 1450-1600 -- Music of the Baroque Era, 1600-1750 -- Music of the Classical Era, 1750-1820 -- Music of the Romantic Era, 1820-1900 -- Music of the Modern Era, 1900-Present ---- Audio Review ---- How Am I Doing? ---- Key terms UNIT 2. MUSIC OF THE CHURCH Music for Use in the Worship Hall What to Listen for in Sacred Music 4. Music of the Catholic Church Learning Objectives Key Concepts -- Chant-- the Basis of Western Sacred Music LISTENING GUIDE 4.1 "Resurrexi, et adhuc tecum sum," Alleluia from Mass for Easter, Anonymous -- Organum Grows from Embellished Chant LISTENING GUIDE 4.2 "Viderunt omnes," Leonin -- Motet Develops Outside the Liturgy -- Guillaume de Machaut: -- Guillaume Dufay: LISTENING GUIDE 4.3 "Ave maris stella," Dufay -- Josquin Desprez: LISTENING GUIDE 4.4 "Ave Maria Virgo Serena," Josquin -- The Secular Motet LISTENING GUIDE 4.5 "Quant en moi," Guillaume de Machaut -- Mass, the Most Important Sacred Music Form LISTENING GUIDE 4.6. Kyrie from Notre Dame Mass, Guillaume de Machaut ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 5. Protestant Church Music Learning Objectives Key Concepts -- The Protestant Hymn LISTENING GUIDE 5.1 "A Mighty Fortress is Our God," Martin Luther -- Lutherans Develop the Cantata -- How Was Early Music Performed? -- Johann Sebastian Bach: LISTENING GUIDE 5.2 "Awake, a Voice Is Calling Us," Cantata 140 , J.S. Bach ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms UNIT 3. MUSIC OF THE CONCERT HALL Development of the Concert Hall The Concert Hall What to Expect at the Concert Hall Music of the Concert Hall What to Listen for in Concert Music 6. Music for Soloists with Orchestra-the Concerto Learning Objectives Key Concepts -- Characteristics of the Concerto -- The Baroque Concerto -- Antonio Vivaldi: LISTENING GUIDE 6.1 "Spring," from The Four Seasons, Antonio Vivaldi -- The Classical Concerto -- Wolfgang Amadeus Mozart: LISTENING GUIDE 6.2 Concerto no. 23 in A major for Piano, K. 488, mvt. 1, Wolfgang Amadeus Mozart -- The Romantic Concerto -- Felix Mendelssohn: LISTENING GUIDE 6.3 Concerto in E minor for Violin, op. 64, mvt. 1, Felix Mendelssohn ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 7. The Symphony Learning Objectives Key Concepts -- The Development of the Symphony LISTENING GUIDE 7.1 Air from Suite No. 3 in D major for Orchestra, BMV 1068, J. S. Bach -- The Classical Era Symphony -- The Romantic Era Symphony -- Important Composers of Symphonies -- Franz Joseph Haydn: LISTENING GUIDE 7.2 Symphony No. 94 in G major, Hob.1:94, mvt. 2, Franz Joseph Haydn -- Wolfgang Amadeus Mozart: LISTENING GUIDE 7.3 Symphony No. 40 in G minor, K. 550, mvt. 1, Allegro molto, Wolfgang Amadeus Mozart -- Ludwig van Beethoven: LISTENING GUIDE 7.4 Symphony No. 5 in C minor, op. 67, mvt. 1, Allegro con brio, Ludwig van Beethoven -- Johannes Brahms: LISTENING GUIDE 7.5 Symphony No. 3 in F major, op. 90, mvt. 3, Johannes Brahms LISTENING GUIDE 7.6 Symphony No. 9 in E minor, op. 95, mvt. 2, Antonín Dvorák ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 8. Program Music Learning Objectives Key Concepts -- Types of Program Music for the Orchestra -- The Program Symphony -- Hector Berlioz: LISTENING GUIDE 8.1 "March to the Scaffold," from Symphonie Fantastique, mvt. 4, Hector Berlioz -- The Symphonic Poem -- Franz Liszt: -- Richard Strauss: -- Paul Dukas: LISTENING GUIDE 8.2 The Sorcerer's Apprentice, Paul Dukas -- Incidental Music LISTENING GUIDE 8.3 Overture to A Midsummer Night's Dream, Felix Mendelssohn -- The Concert Overture LISTENING GUIDE 8.4 1812 Overture, op. 49, Pyotr Il'yich Tchaikovsky -- Nationalistic Music ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 9. Isms for Orchestra Learning Objectives Key Concepts -- Symphonic Music in the Modern Period Becomes More Diverse -- Impressionism in Painting Influences Music -- Claude Debussy: LISTENING GUIDE 9.1 Prelude to the Afternoon of a Faun, Claude Debussy -- Expressionism and the Second Viennese School -- Arnold Schoenberg: LISTENING GUIDE 9.2 "Peripetie," from Five Orchestral Pieces, op. 16, Arnold Schoenberg -- Neoclassicism -- Sergei Prokofiev: LISTENING GUIDE 9.3 "Gavotta," from Symphony no. 1 in D major, op. 25, ("Classical"), mvt. 3, Sergei Prokofiev -- Minimalism -- John Adams: LISTENING GUIDE 9.4 Short Ride in a Fast Machine, John Adams -- Neo-Romanticism and Modern Orchestral Music -- Libby Larsen: LISTENING GUIDE 9.5 "One Dancer, Many Dances" from Symphony no. 5, Solo Symphony, Libby Larsen ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 10. Orchestra and Voices Learning Objectives Key Concepts -- The Oratorio -- George Friederic Handel: LISTENING GUIDE 10.1 "Hallelujah Chorus" from Messiah, G.F. Handel -- The Musical Passion LISTENING GUIDE 10.2 "O Haupt voll Blut und Wunden," excerpt from Passion According to St. Matthew, BWV 244, J.S. Bach -- Nonliturgical Mass and Requiem LISTENING GUIDE 10.3 "How Lovely Is Thy Dwelling Place," from A German Requiem,mvt. 4th, Johannes Brahms ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 11. Music for Wind Bands Learning Objectives Key Concepts --Band Instrumentation --Early Development of Bands --John Philip Sousa: LISTENING GUIDE 11.1 "Stars and Stripes Forever," John Philip Sousa --Gustav Holst LISTENING GUIDE 11.2 "Chaconne," from First Suite in E-flat for Military Band, mvt. 1, Gustav Holst -- Modern Concert Band Music LISTENING GUIDE 11.3 Postcard, Frank Ticheli ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? UNIT 4. MUSIC OF THE RECITAL HALL AND SALON The Recital Music for the Recital Hall or Salon What to Listen for and Observe at a Recital 12. Vocal Music for the Recital Hall and Salon Learning Objectives Key Concepts -- The Madrigal -- Claudio Monteverdi: LISTENING GUIDE 12.1 "Here now, the waves murmur," from Second Book of Madrigals, Claudio Monteverdi -- Fa La La--The Ballett LISTENING GUIDE 12.2 "Now is the month of Maying," Thomas Morley -- The Rise of the Art Song -- A Musical Conversation -- Forms Used in Art Songs -- Song Composers -- Franz Schubert: LISTENING GUIDE 12.3 "The Erl-king," Franz Schubert -- Robert and Clara Schumann: LISTENING GUIDE 12.4, "In the lovely month of May," from Dichterliebe, op. 48, no. 1, Robert Schumann -- Charles Ives: LISTENING GUIDE 12.5 "The Things Our Fathers Loved," 114 Songs, no. 43, Charles Ives ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 13. Solo Keyboard Music Learning Objectives Key Concepts -- Music for the King of Instruments --Johann Sebastian Bach: LISTENING GUIDE 13.1 Fugue in C minor, from The Well-Tempered Clavier, Book 1, J.S. Bach LISTENING GUIDE 13.2 "Christ lay in Death's Prison" Chorale Prelude, BWV 625, J.S. Bach -- Solo Music for the Piano -- Piano Sonata: LISTENING GUIDE 13.3 Sonata no. 14 in C-sharp minor for Piano, op. 27, no. 2, ("Moonlight"), mvt. 1, Adagio Sostenuto, Ludwig van Beethoven -- Character Piece: -- Frédéric Chopin: LISTENING GUIDE 13.4 Nocturne in E-flat, op. 9, no. 2, Frédéric Chopin -- Franz Liszt: LISTENING GUIDE 13.5 Transcendental Etudes, no. 10 in F minor, Allegro agitato Molto, Franz Liszt ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 14. Instrumental Chamber Music Learning Objectives Key Concepts -- String Quartet--Four Soloists Who Blend -- Instrumentation of string quartet: LISTENING GUIDE 14.1 String Quartet no. 3 in C major, op. 76 ("The Emperor"), mvt 2, Poco adagio cantabile, and mvt. 3, Minuet and Trio, Franz Joseph Haydn -- Sonatas of a Different Form: LISTENING GUIDE 14.2 Trio Sonata in B-flat, op. 4, no. 9, Arcangelo Corelli LISTENING GUIDE 14.3 Sonata in E-flat for Clarinet and Piano, op. 120, no. 2, Johannes Brahms -- Chamber Music--No Strings Attached LISTENING GUIDE 14.4 Serenade in B-flat for Winds, K. 361, ("Gran Partita"), mvt. 3, Wolfgang Amadeus Mozart LISTENING GUIDE 14.5 Quintet for Brass, op. 73, Con brio, Malcolm Arnold -- Contemporary Mixed Chamber Music LISTENING GUIDE 14.6 Zaka, Jennifer Higdon ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms UNIT 5. MUSIC OF THE STAGE AND SCREEN The Opera House and Musical Theater What to Expect at the Opera House or Musical Theater What to Listen for at an Opera, Ballet, Musical, or Film 15. Opera and Operetta Learning Objectives Key Concepts -- Florence Noblemen Develop Baroque Opera -- Claudio Monteverdi: LISTENING GUIDE 15.1 "Tu se' morta," from Orfeu, Claudio Monteverdi -- George Friederic Handel: LISTENING GUIDE 15.2 "La giustizia" from Julius Caesar, G.F. Handel -- Henry Purcell: -- Classical Era Opera Adds Comedy -- Wolfgang Amadeus Mozart: LISTENING GUIDE 15.3 "Là ci darem la mano" from Don Giovanni, Wolfgang Amadeus Mozart -- Romantic Era Opera Becomes Grand -- Guiseppi Verdi: LISTENING GUIDE 15.4 "La donna è mobile" from Rigoletto, Giuseppe Verdi -- Richard Wagner: LISTENING GUIDE 15.5 "Ride of the Valkyries," from The Valkyrie, Richard Wagner -- Giacomo Puccini: LISTENING GUIDE 15.6 "Nessun dorma" from Turandot, Giacomo Puccini LISTENING GUIDE 15.7 "Un bel dí," from Madame Butterfly, Giacomo Puccini -- Modern Opera Continues Romantic Traditions -- Operetta LISTENING GUIDE 15.8 "I Am the Very Model of a Modern Major-General," from The Pirates of Penzance, Arthur Sullivan ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 16. Musical Theater Learning Objectives Key Concepts -- Precursors of the Musical -- Vaudeville Show Adds Plots LISTENING GUIDE 16.1 "Ol' Man River," from Showboat, Jerome Kern and Oscar Hammerstein II -- Book Musicals LISTENING GUIDE 16.2 "People Will Say We're in Love", from Oklahoma, Richard Rodgers and Oscar Hammerstein II LISTENING GUIDE 16.3 "I Could Have Danced All Night," from My Fair Lady, Frederick Loewe and Alan Jay Lerner LISTENING GUIDE 16.4 "Tonight," from West Side Story, Leonard Bernstein and Stephen Sondheim -- Rock, Electronics, Opera, and Cats LISTENING GUIDE 16.5 "Don't Dry for Me Argentina," from Evita, Andrew Lloyd-Webber and Tim Rice LISTENING GUIDE 16.6 "You Can't Stop the Beat," from Hairspray, Marc Shaiman and Scott Wittman ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 17. Ballet Music Learning Objectives Key Concepts -- Development of Ballet -- Pyotr Il'ych Tchaikovsky: LISTENING GUIDE 17.1 "March" and "Dance of the Reed Pipes," The Nutcracker, Pyotr Il'ych Tchaikovsky -- Modern Ballet --Primitivism: -- Igor Stravinsky: LISTENING GUIDE 17.2 The Rite of Spring, Igor Stravinsky --Aaron Copland: LISTENING GUIDE 17.3 "Hoedown" from Rodeo, Scene 5, Aaron Copland ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 18. Film Music Learning Objectives Key Concepts -- Music to Accompany Early Films -- Music for "Talkies" -- Max Steiner: LISTENING GUIDE 18.1 "Tara Theme" from Gone with the Wind, Max Steiner LISTENING GUIDE 18.2 "The Murder," from Psycho, Bernard Hermann -- Post World War II Film Music -- Contemporary Film Composers Work Closely with Directors -- John Williams: LISTENING GUIDE 18.3 "Princess Leia's Theme" from Star Wars, John Williams LISTENING GUIDE 18.4 Music from Pirates of the Caribbean, Klaus Badelt ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms BONUS CHAPTERS 19. Jazz Learning Objectives Key Concepts -- Roots and Characteristics of Jazz -- Ragtime -- Scott Joplin: LISTENING GUIDE 19.1 "Maple Leaf Rag," Scott Joplin -- Blues -- Bessie Smith: LISTENING GUIDE 19.2 "Lost Your Head Blues," Bessie Smith -- Dixieland -- Louis Armstrong: LISTENING GUIDE 19.3 "Struttin' With Some Barbeque," Louis Armstrong -- Swing -- Glenn Miller Orchestra: LISTENING GUIDE 19.4 "In the Mood," Eric DeWebber -- Duke Ellington: LISTENING GUIDE 19.5 "Take the A Train," Duke Ellington band -- Bebop LISTENING GUIDE 19.6 "Night in Tunisia," Dizzy Gillespie -- Cool Jazz LISTENING GUIDE 19.7 "Night and Day," Cole Porter -- Free Jazz -- Modern Jazz -- Miles Davis: LISTENING GUIDE 19.8 "Bitches Brew," Miles Davis -- Jazz and Classical Music -- George Gershwin: LISTENING GUIDE 19.9 Rhapsody in Blue, George Gershwin ---- Build Your Own Playlist ---- Audio Review ---- How Am I Doing? ---- Key Terms 20. Popular Music Since 1950 Learning Objectives Key Concepts -- Roots of Rock n' roll -- The 1950's LISTENING GUIDE 20.1 "Hound Dog," Jerry Leiber and Mike Stoller, performed by Elvis Presley -- Bill Haley and the Comets: -- Rock n' Roll Turns Soft LISTENING GUIDE 20.2 "Beyond the Sea," Charles Trenet and Jack Lawrence, performed by Bobby Darin LISTENING GUIDE 20.3 "The Lion Sleeps Tonight," Solomon Linda and George David Weiss -- The 1960s LISTENING GUIDE 20.4 "Good Vibrations," Brian Wilson, performed by the Beach Boys -- Rock Returns to its Folk Roots to Change the World LISTENING GUIDE 20.5 "Blowin' in the Wind," Bob Dylan, performed by Peter, Paul & Mary -- The British Invasion: LISTENING GUIDE 20.6 "I Want to Hold Your Hand," John Lennon and Paul McCartney, performed by the Beatles -- The Rolling Stones: LISTENING GUIDE 20.7 "(I Can't Get No) Satisfaction," Mick Jagger and Keith Richards, performed by the Rolling Stones -- Motown: LISTENING GUIDE 20.8 "Stop! In the Name of Love," Lamont Dozier, Brian Holland, and Eddie Holland, performed by the Supremes -- The 1970s LISTENING GUIDE 20.9 "25 or 6 to 4," Robert Lamm, performed by Chicago LISTENING GUIDE 20.10 "Piano Man," Billy Joel LISTENING GUIDE 20.11 "Last Dance," Paul Jabara, performed by Donna Summer -- The 1980s LISTENING GUIDE 20.12 "School's Out," Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith, performed by Alice Cooper -- The Superstar LISTENING GUIDE 20.13 "Beat It," Michael Jackson -- Hip hop/rap: LISTENING GUIDE 20.14 "Walk This Way," Steven Tyler and Joe Perry, performed by Run-DMC -- 1990's and Beyond -- Divas: LISTENING GUIDE, 20.15 "One Moment in Time," Albert Hammond and John Bettis, performed by Whitney Houston ---- Build Your Own Playlist Glossary: Selective Bibliography: Credits: Index:

About the Author :
Wayne Bailey is Professor of Music at the Herberger Institute's School of Music at Arizona State University, where he teaches music appreciation and graduate and undergraduate courses in conducting.

Review :
"I absolutely love this! In Performance will get students' attention and engage them in class activities and discussions. It will also make the class more contemporary and fun."--Debbie O'Connell, Winston-Salem State University "This text features unique concepts that allow for more concrete enjoyment of music, good coverage of musical trends and styles, and an easy-to-read style. Overall, it is refreshing."--James McAllister, Garden City Community College "This approach is unique and communicates better than the typical chronological approach by putting music into the context/venue in which it is heard."--John Irish, Angelo State University