A History of Music in Western Culture

A History of Music in Western Culture

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Suitable for all courses in music history. This text provides undergraduates with a conceptual framework for understanding stylistic and social developments in the history of music from classical antiquity to the present. Its narrative is built around a series of carefully chosen musical works contained in the accompanying 2-volume anthology and set of twelve compact discs. This text allows the student to grasp the richness and importance of musical history in two important ways. It combines narrative with primary sources in a lively and engaging manner and it traces key concepts of musical style and the uses of music across time.show more

Product details

  • Hardback | 645 pages
  • 221 x 285 x 29.5mm | 1,691.92g
  • Pearson Education Limited
  • Prentice-Hall
  • Harlow, United Kingdom
  • New edition
  • 1st New edition
  • 0130143200
  • 9780130143204

Table of contents

PROLOGUE: ANTIQUITY. Music in the Biblical World. Ancient Greece. Music in the Roman Empire. The Musical Legacies of Antiquity. I. THE MEDIEVAL ERA. Prelude to Part I. 1. Plainchant and Secular Monophony. The Emergence of Plainchant. The Elements of Plainchant. The Expansion of Plainchant. Secular Monophony. 2. Polyphony to 1300. Organum. Clausula. Motet. Conductus. Mensural Notation. 3. Music in the 14th Century. France: The Ars Nova. Italy: The Trecento. England. Instrumental Music. II. MUSIC OF THE RENAISSANCE. Prelude to Part II. Renaissance Humanism. The Protestant Reformation. Renaissance Painting and Sculpture. Music in Renaissance Society. 4. The Emergence of Renaissance Style. Consonance and Dissonance: Trusting the Ear. Sonority: The Contenance Angloise. Texture: Pervading Imitation. Josquin's Ave Maria...virgo serena and the Style of the Renaissance. 5. The Genres of Renaissance Music, 1420-1520. Sacred Vocal Music. Secular Vocal Music. Instrumental Music. 6. Music in the 16th Century. Secular Vocal Music. Sacred Vocal Music. Instrumental Music in the 16th Century. Mannerism. III. THE BAROQUE ERA. Prelude to Part III. War, Revolution, and Colonial Expansion. The Scientific Revolution. The Musical Baroque. 7. The New Practice. Searching for the Secrets of Ancient Greek Music. The Florentine Camerata. The Seconda Prattica. Music in the Baroque Era: A Stylistic Overview. 8. Vocal Music, 1600-1650. Secular Song. Opera. Sacred Music. 9. Vocal Music, 1600-1750. Opera. Sacred Music. Conceptions of the Compositional Process. 10. Instrumental Music, 1650-1750. Instruments of the Baroque Era. Instrumental Genres of the Baroque Era. IV. THE CLASSICAL ERA. Prelude to Part IV. The Age of Enlightenment. War and Revolution. The Industrial Revolution. Music in Enlightenment Society. 11. The Art of the Natural. Music and the Idea of Nature. Music in the Classical Era: A Stylistic Overview. Style and Form in the Mid-18th Century. 12. Instrumental Music in the Classical Era. The Language of Instrumental Music. Sonata. String Quartet. Cyclical Coherence. The Symphony. Concerto. 13. Vocal Music in the Classical Era. Th Rise of opera buffa. Opera Wars. Gluck and the Reform of Opera. Mozart and the Synthesis of Operatic Styles. Sacred Music. Song. V. THE 19TH CENTURY. Prelude to Part V. Progress and Dislocation. Ideas and Ideologies. Reaction, Reform and Revolution. The Musical World of the 19th Century. 14. The Age of the Tone-Poet. Romanticism and the New Prestige of Instrumental Music. The Composer as High Priest. Originality and Historical Self-Consciousness. The New Dichotomy of Absolute and Program Music. Nationalism and Music. The Growing Division Between "Serious" and "Popular" Music. Music in the 19th Century: A Stylistic Overview. 15. Orchestral Music, 1800-1850. Bigger Halls, Bigger Audiences, and Louder Instruments. The Symphony. The Concert Overture. The Concerto. 16. Piano Music, Chamber Music, Song. Beethoven's Piano Sonatas and String Quartets. Song. The Character Piece. 17. Dramatic and Sacred Music. Opera. Operetta. Sacred Music. 18. Orchestral Music, 1850-1900. Music for Dancing and Marching. Ballet. The Symphonic Poem. The Symphony. VI. THE 20TH CENTURY. Prelude to Part VI. The Impact of Recorded Sound. Modernism: the Shock of the New. 19. The Growth of Pluralism. Fragmentation versus Diversity. Past versus Present. Recorded versus Live Music. Authenticity. The Uses of Music in the 20th Century. Music in the 20th Century: A Stylistic Overview. 20. The Search for New Sounds: 1890-1940. Impressionism. Challenges to Tonality. Primitivism. Ragtime, Jazz and Country Music. Nationalism. New Timbres. 21. Beyond Tonality. Atonality. Serial Composition. 22. The Tonal Tradition. Neo-Classicism and "The New Objectivity." Orchestral Music. Film Music. Ballet. Chamber Music. Song. Musical Theater. 23. New Currents after 1945. The Quest for Innovation. Combinatoriality. Integral Serialism. Aleatory Music. Electronic Music. Rock Music. Folk Music. Jazz. Minimalism. Postmodernism. Epilogue: Music at the Beginning of the 21st Century.show more

About Mark Evan Bonds

Mark Evan Bonds received a B.A. in music and German from Duke University in 1975; a master's in musicology from the Universitat Kiel (West Germany) in 1977; and a Ph.D. in musicology from Harvard University in 1988. He taught at Boston University (1988-92) and Harvard University (Visiting Assistant Professor, 1991) before joining the faculty at the University of North Carolina at Chapel Hill in 1992. His research interests include music of the Classic and Romantic eras, particularly instrumental music and aesthetic theory. He is currently at work on a book entitled The Culture of the Symphony in the Age of Beethoven.show more

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