Understanding Music

Understanding Music teaches students what to listen for in music.  Jeremy Yudkin’s text is a rich music appreciation program that supports the instructor’s ultimate goal of teaching active listening.  By focusing on music of the Western tradition in its social, historical, and global context, this text engages students in an active listening experience of music through a lively narrative and innovative activities— all supported by a computer program which once downloaded will allow you to use the web-based listening guides, and printed listening guides within the text.

Table of Contents:
Preface Foreword   Chapter 1 Music Around the World Introduction to the Study of Music Music as a Reflection of Society The United States: A Test Case World Music: A View from a Satellite What to Listen for in World Music Attitude Toward Music of the Past Texture Melody Rhythm Tone Color: Voices and Instruments Social Context Attitudes Toward the Participation of Women Time Listening to Music from Around the World Japanese Shakuhachi Music Listening Guide Listening Sketch for Shakuhachi Music “Koku-Reibo” (A Bell Ringing in the Empty Sky) Music and Islam Gamelan Music from the Indonesian Island of Java Listening Guide Listening Sketch for a Turkish Call to Prayer African Drumming and Mbira Music Listening Guide Listening Sketch for Javanese Gamelan Music Gangsaran - Bima Kurda - Gangsaran Listening Guide Listening Sketch for Mbira Music “Mandarendare” (A Place Full of Energy) Conclusion   Chapter 2 The Elements of Music What Is Music? The Elements of Music Melody Pitch Note Names Intervals Dynamics Listening Guide George Frideric Handel (1685–1759) From the Water Music Rhythm Beat Measure and Meter Syncopation Tempo Listening Guide George Frideric Handel (1685–1759) From the Water Music Harmony Keynote Keys and Scales Major and Minor Scales Related Keys Chords Cadences Texture Listening Guide George Frideric Handel (1685–1759) From the Water Music Musical Form Jazz and Rock Forms Sound Making Music: Voices Making Music: Instruments The Orchestra Strings Woodwinds Brass Instruments Percussion Instruments Keyboard Instruments Musical Performance Rehearsal Attending a Concert Emotion in Music Live Performances Historical Periods and Individual Style Listening Guide George Frideric Handel (1685–1759) From the Water Music   Chapter 3 The Art of Listening Sound, Rhythm, and Dynamics Listening Guide Paul Dukas (1865–1935) Fanfare from La Péri Music and Words: Melody, Harmony, Dissonance Listening Guide Franz Schubert (1797–1828) Song for voice and piano, Gretchen am Spinnrade (Gretchen at the Spinning Wheel) A Symphonic Minuet Listening Guide Wolfgang Amadeus Mozart (1756–1791) Minuet and Trio from Symphony No. 18 in F Major, K. 130 Keys and Cadences More on Beats, Meter, Form, and Tone Color Listening Guide Benny Harris (1919–1975) Crazeology Word-Painting, Texture, and Chromaticism Listening Guide Maddalena Casulana (c. 1540–c. 1590) Madrigal, Morte, te chiamo (Death, I Call on You) Special Box Feature A Lesson in Music   Chapter 4 The Middle Ages: 400–1400 General Characteristics of Medieval Music The Music of the Middle Ages I: Plainchant Listening Guide Kyrie (plainchant) II: Secular Song and Polyphony Secular Song Listening Guide Beatriz de Dia (late twelfth century) Song, “A chantar” Polyphony Listening Guide Perotinus (c. 1170–c. 1236) Viderunt Omnes (four-voice polyphony for the Cathedral of Notre Dame) Late Medieval Polyphonic Song Listening Guide Guillaume de Machaut (c. 1300–1377) Secular song (rondeau) Doulz Viaire Gracieus The End of the Middle Ages Special Box Feature Composers, Patrons, and Audiences: The Medieval Audience Style Summary The Middle Ages   Chapter 5 The Renaissance: 1400–1600 Life and Times in the Renaissance Renaissance Music General Characteristics of Renaissance Music Music in the Early Renaissance The Renaissance Mass The Mid-Renaissance Josquin Desprez (c. 1440–1521) Josquin’s Pange Lingua Mass Listening Guide Thomas Aquinas (1225–1274) Plainchant hymn, Pange Lingua Listening Guide Josquin Desprez (c. 1440–1521) Kyrie from the Pange Lingua Mass The Late Renaissance Special Box Feature Composers, Patrons, and Audiences: Patronage The Counter-Reformation and the Music of Palestrina The Renaissance Motet The Renaissance Secular Song Listening Guide Giovanni Pierluigi da Palestrina (c. 1525–1594) Motet, Exsultate Deo The Madrigal Listening Guide Thomas Morley (1557–1602) Two English Madrigals The Rise of Instrumental Music Listening Guide Giovanni Gabrieli (c. 1555–1612) Canzona Duodecimi Toni Listening Guide Tielman Susato (fl. 1543–1561) Ronde and Saltarelle Style Summary  The Renaissance   Chapter 6 The Baroque Era: 1600–1750 Life in the Baroque Era Special Box Feature Composers, Patrons, and Audiences: Audiences in the Baroque Era General Characteristics of Baroque Music The Early Baroque (1600–1700) Monteverdi and the First Great Opera The Story of the Opera Listening Guide Claudio Monteverdi (1567–1643) Orfeo’s recitative, Euridice’s recitative, chorus of nymphs and shepherds, and instrumental ritornello from the opera Orfeo Opera in the Seventeenth Century Henry Purcell and English Opera Listening Guide Henry Purcell (1659–1695) Dido’s lament from the opera Dido and Aeneas Sonata and Concerto Listening Guide Arcangelo Corelli (1653–1713) Trio Sonata, Op. 3, No. 7, for two violins and basso continuo French Music The Late Baroque (1700–1750) Late Baroque Opera The Late Baroque Concerto Antonio Vivaldi (1678–1741) Listening Guide Antonio Vivaldi (1678–1741) First Movement from Violin Concerto, Op. 8, No. 1, La Primavera (“Spring”), from The Four Seasons Johann Sebastian Bach (1685–1750) Bach’s Organ Music Listening Guide Johann Sebastian Bach (1685–1750) Prelude and Fugue in E Minor Bach’s Keyboard, Instrumental, and Orchestral Music Listening Guide Johann Sebastian Bach (1685–1750) First Movement from Brandenburg Concerto No. 2 in F Major Bach’s Vocal Church Music Listening Guide Johann Sebastian Bach (1685–1750) St. Matthew Passion (excerpt) George Frideric Handel (1685–1759) Handel’s Music Listening Guide George Frideric Handel (1685–1759) Giulio Cesare, Act III, Scene 4 Listening Guide George Frideric Handel (1685–1759) “Halleluyah” Chorus from Messiah Style Summary The Baroque Era   Chapter 7 The Classic Era: 1750–1800 From Absolutism to Enlightenment to Revolution The Musical Public General Characteristics of Classic Music Genres of Classic Music Opera Listening Guide Giovanni Pergolesi (1710–1736) Opera, La Serva Padrona (Duet from Act I) Symphony Chamber Music Convention in Classic Music Forms of Classic Music Sonata Form Aria Form Minuet-and-Trio Form Rondo Form Summary The Early Classic Period The Classic Masters Franz Joseph Haydn (1732–1809) Special Box Feature Composers, Patrons, and Audiences: The Classic Orchestra Haydn’s Music Listening Guide Franz Joseph Haydn (1732–1809) Minuet and Trio from Symphony No. 45 in F-sharp Minor Listening Guide Franz Joseph Haydn (1732–1809) Fourth Movement from String Quartet, Op. 33, No. 2, in E Major Wolfgang Amadeus Mozart (1756–1791) Special Box Feature Composers, Patrons, and Audiences: Composers and Patrons in the Classic Era Mozart’s Music Listening Guide Wolfgang Amadeus Mozart (1756–1791) Second Movement from Piano Concerto No. 21 in C Major, K. 467 Listening Guide Wolfgang Amadeus Mozart (1756–1791) First Movement from Symphony No. 40 in G Minor, K. 550 Style Summary The Classic Era   Chapter 8 Beethoven Beethoven’s Life Beethoven’s Early Life The Heroic Phase Personal Crisis and Halt to Productivity Late Years Beethoven’s Music Listening Examples Special Box Feature Composers, Patrons, and Audiences: Beethoven’s Orchestra Listening Guide Ludwig van Beethoven (1770–1827) Six Easy Variations on a Swiss Tune in F Major for Piano, WoO 64 Beethoven’s Fifth Symphony Listening Guide Ludwig van Beethoven (1770–1827) Symphony No. 5 in C Minor Beethoven’s Late Music Listening Guide Ludwig van Beethoven (1770–1827) Third Movement from Piano Sonata in E Major, Op. 109 Style Summary Beethoven   Chapter 9 The Nineteenth Century I: Early Romantic Music The Age of Romanticism The Industrial Revolution Political, Intellectual, and Social Changes The New Artistic Spirit Music for All The New Sound Dynamics Tempo and Expression Melody Harmony Form Program Music Massive and Miniature Favorite Romantic Genres Favorite Romantic Instruments The Individual and the Crowd Women in Nineteenth-Century Music Romantic Song Early Romanticism Franz Schubert (1797–1828) Schubert’s Music Listening Guide Franz Schubert (1797–1828) Song, “Die Forelle” (“The Trout”) Listening Guide Franz Schubert (1797–1828) Fourth Movement from Quintet in A Major, D. 667 (The Trout) Hector Berlioz (1803–1869) Berlioz’s Music Listening Guide Hector Berlioz (1803–1869) First Movement from Symphonie fantastique (Fantastical Symphony) Felix Mendelssohn (1809–1847) Mendelssohn’s Music Listening Guide Felix Mendelssohn (1809–1847) First Movement from Concerto in E Minor for Violin and Orchestra, Op. 64 Fanny Mendelssohn Hensel (1805–1847) Listening Guide Fanny Mendelssohn Hensel (1805–1847) Lied from Songs without Words, Op. 8, No. 3 Special Box Feature   Composers, Patrons, and Audiences: Music for the Middle Classes Fryderyk Chopin (1810–1849) Chopin’s Music Listening Guide Fryderyk Chopin (1810–1849) Prelude in E Minor, Op. 28, for Piano Listening Guide Fryderyk Chopin (1810–1849) Waltz in D  Major, Op. 64, No. 1, for Piano Solo (Minute Waltz) Robert Schumann (1810–1856) Schumann’s Music Listening Guide Robert Schumann (1810–1856) Träumerei (Dreaming), from Kinderszenen, Op. 15, for Piano Clara Schumann (1819–1896) Listening Guide Clara Schumann (1819–1896) Third Movement from Trio in G Minor for Piano, Violin, and Cello Style Summary The Nineteenth Century I: Early Romantic Music   Chapter 10 The Nineteenth Century II: Mid- to Late-Romantic Music Works for Solo Piano Symphonic Program Music Opera Nationalism Franz Liszt (1811–1886) Liszt’s Music Listening Guide Franz Liszt (1811–1886) Transcendental étude No. 10 in F Minor Listening Guide Franz Liszt (1811–1886) Symphonic Poem, Hamlet Verdi and Wagner Giuseppe Verdi (1813–1901) Verdi’s Music Listening Guide Giuseppe Verdi (1813–1901) Otello (Excerpt) Richard Wagner (1813–1883) Wagner’s Music Listening Guide Richard Wagner (1813–1883) Prelude and Liebestod from the Music Drama Tristan und Isolde The Nationalist Composers Russia Bohemia Moravia Listening Guide BedÇrich Smetana (1824–1884) Symphonic Poem, The Moldau Scandinavia Spain France Pyotr Ilyich Tchaikovsky (1840–1893) Tchaikovsky’s Music Listening Guide Pyotr Ilyich Tchaikovsky Scene from Act II of the Ballet SwanLake Late Romanticism Johannes Brahms (1833–1897) Brahms’s Music Listening Guide Johannes Brahms (1833–1897) “Wiegenlied” (“Lullaby”), Op. 49, No. 4 Listening Guide Johannes Brahms (1833–1897) Fourth Movement from Symphony No. 4 in E Minor Giacomo Puccini (1858–1924) Puccini’s Music Listening Guide Giacomo Puccini (1858–1924) “Un bel dì” (“One Fine Day”) from Madama Butterfly Gustav Mahler (1860–1911) Mahler’s Music Listening Guide Gustav Mahler (1860–1911) Fourth Movement, “Urlicht” (“Primeval Light”) from Symphony No. 2 in C Minor (Resurrection) Style Summary The Nineteenth Century II: Mid- To Late-Romantic Music Chapter 11 The Twentieth Century I: The Classic Scene An Overview History and the Arts, 1900–1939 1939–2000 General Characteristics of Twentieth-Century Music The Replacement of Tonality Melody Rhythm Length Tone Color and Sound The Beginnings of Change Impressionism and Symbolism Claude Debussy (1862–1918) Listening Guide Claude Debussy (1862–1918) Prélude à l’après-midi d’un faune Primitivism Igor Stravinsky (1882–1971) Listening Guide Igor Stravinsky (1882–1971) Le Sacre du Printemps (The Rite of Spring), Opening Section Stravinsky and Neo-Classicism Listening Guide Igor Stravinsky (1882–1971) Stravinsky’s Music Expressionism Arnold Schoenberg (1874–1951) Schoenberg’s Music Listening Guide Arnold Schoenberg (1874–1951) “Madonna” from Pierrot Lunaire Listening Guide Arnold Schoenberg (1874–1951) Theme and Sixth Variation from Variations for Orchestra, Op. 31 Schoenberg’s Students Alban Berg (1885–1935) Berg’s Music Wozzeck Listening Guide Alban Berg (1885–1935) Wozzeck, Act III, Scenes 4 and 5 Anton Webern (1883–1945) Webern’s Music Listening Guide Anton Webern (1883–1945) Third Movement from Five Movements for String Quartet, Op. 5 Other Composers Active before World War II: Bartók, Shostakovich, Britten, Ives, Copland Béla Bartók (1881–1945) Bartók’s Music Listening Guide Béla Bartók (1881–1945) Fifth Movement (Allegro molto) from String Quartet No. 4 Dmitri Shostakovich (1906–1975) Benjamin Britten (1913–1976) Listening Guide Benjamin Britten (1913–1976) Sanctus fromWar Requiem The American Scene Charles Ives (1874–1954) Listening Guide Charles Ives (1874–1954) Second Movement from Three Places in New England (“Putnam’s Camp, Redding, Conn.”) Aaron Copland (1900–1990) Listening Guide Aaron Copland (1900–1990) Fanfare for the Common Man Building Bridges George Gershwin (1898–1937) Listening Guide George Gershwin (1898–1937) “Bess, You Is My Woman Now” from Porgy and Bess Leonard Bernstein (1918–1990) Listening Guide Leonard Bernstein (1918–1990) “America” from West SideStory Special Box Feature Composers, Patrons, and Audiences: Audiences for Music in the Twentieth Century After the War: Modernism, the Second Stage Total Serialism Listening Guide Pierre Boulez (b. 1925) Structures I The Radical Sixties: New Sounds, Freedom, and Chance New Sounds Listening Guide Krzysztof Penderecki (b. 1933) Threnody for the Victims of Hiroshima Freedom and Chance Special Box Feature The Twentieth-Century Orchestra Listening Guide John Cage (1912–1922) Sonata III from Sonatas and Interludes for Prepared Piano Postmodernism Postmodern Music Listening Guide Lukas Foss (b. 1922) Third Movement (Recitative—after Monteverdi) from Renaissance Concerto for Flute and Orchestra Fusion Inclusion Listening Guide Pauline Oliveros (1932) Sound Patterns Listening Guide Olly Wilson (b. 1937) Sometimes Listening Guide Joan Tower (b. 1938) Wings Listening Guide Ellen Taaffe Zwilich (b. 1939) Third Movement (Rondo) from Symphony No. 1 Conclusion Style Summary The Twentieth Century   Chapter 12 The Twentieth Century II: Jazz, An American Original The History of Jazz Origins Band Music Ragtime Listening Guide Scott Joplin (1868–1917) Maple Leaf Rag, for Piano solo The Blues Listening Guide Bessie Smith (1894–1937) “Florida-Bound Blues” New Orleans Jazz Listening Guide Louis Armstrong (1900–1971) “Hotter Than That” Swing Listening Guide Duke Ellington (1899–1974) “It Don’t Mean A Thing (If It Ain’t Got That Swing)” Bebop Listening Guide The Charlie Parker Quartet “Confirmation” Cool Jazz Listening Guide Bill Evans “Blue in Green” from Kind of Blue Free Jazz Fusion The Current Scene Listening Guide Wynton Marsalis “Harriet Tubman” Style Summary Jazz   Chapter 13 The Twentieth Century III: Popular Music in the United States Styles of Popular Music Beginnings: 1850–1950 Special Box Feature Composers, Patrons, and Audiences: Patronage and Commercialization Listening Guide “Blue Moon” Music by Richard Rodgers, words by Lorenz Hart The Fortunate Fifties Rock and Roll: The Beginnings Listening Guide Chuck Berry “Johnny B. Goode” Elvis Presley Listening Guide Elvis Presley “Blue Suede Shoes” Rebellion Early Rock and Roll: Structure and Style Early Rock and Roll: Black and White The Turbulent Sixties The Beatles Listening Guide The Beatles “It Won’t Be Long” Listening Guide The Beatles “Strawberry Fields Forever” Bob Dylan Listening Guide Bob Dylan “Sad-eyed Lady of the Lowlands” Jimi Hendrix Other Trends in the Sixties Motown Surfing Songs Folk Country The 1970s and 1980s: Variety, Legacy, and Change Listening Guide Michael Jackson “Billie Jean” Listening Guide Madonna “Material Girl” The Nineties: Rap, Rage, and Reaction Style Summary Popular Music Glossary and Musical Locator Credits Index