Ideas and Styles in the Western Musical Tradition

Ideas and Styles in the Western Musical Tradition

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In this concise, invitingly written introduction to music history, the author approaches the topic as a study of significant intellectual currents and developments in musical style, rather than as a compendium of names, dates, and compositions. The use of quotations from thinkers, artists, and musicians helps engage students in thinking critically and creatively about ideas and styles of music. "Ideas and Styles" also allows instructors the flexibility to make use of additional materials important to them. The new second edition is accompanied by a two-volume anthology of scores and recordings, as well as an online learning center with additional student resources.
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Product details

  • Hardback | 544 pages
  • 205.7 x 256.5 x 27.9mm | 1,202.03g
  • McGraw Hill Higher Education
  • London, United States
  • English
  • New edition
  • 2nd New edition
  • 0767427300
  • 9780767427302

Table of contents

About the AuthorTo the InstructorTo the Student1. MUSIC IN CLASSICAL ANTIQUITYMusic in the Life and Philosophy of Ancient Greece Music and the Doctrine of EthosCharacteristics of MusicGreek Music TheoryMusic in Ancient Rome2. THE EARLY CHRISTIAN PERIODThe Growth of the Christian Church and Its MusicThe Jewish HeritageThe Diversification of PracticeThe Eastern InfluenceLocal European Practices3. THE ESTABLISHMENT OF A CATHOLIC TRADITIONThe Political-Cultural Situation at the Beginning of the Ninth CenturyThe Roman LiturgySettings for WorshipAesthetic Considerations Regarding the ChantThe Musical Style of the ChantThe Music Theory of the ChantLater Developments in the Liturgical ChantThe TropeLiturgical Drama4. MEDIEVAL SECULAR SONG AND INSTRUMENTAL MUSICSecular Music in the Early Middle AgesLatin SongsEpics and MinstrelsTroubadours and TrouveresGerman Court MusicMonophonic Songs in Other RegionsItalySpain and PortugalBritainMedieval InstrumentsString InstrumentsWind InstrumentsPercussion InstrumentsOrgansThe Use of Instruments in Medieval Music5. THE DEVELOPMENT OF POLYPHONYThe Significance of PolyphonyCarolingian PolyphonyRomanesque DevelopmentsFree OrganumRhythmic IndependenceHarmonic FreedomGothic Thinking and StyleNotre Dame PolyphonyRhythmic Order in Organum: LeoninPerotinCadencesThe Medieval MotetLate Thirteenth-Century DevelopmentsNew Developments in Rhythmic NotationHocketSymbolic Values in Medieval Polyphony6. MUSIC IN THE FOURTEENTH CENTURYThe Increasing Secularization of CultureArs NovaIsorhythmThe Roman de FauvelForm in Secular SongGuillaume de MachautMannerism: The Ars SubtiliorThe Italian TrecentoCadence Patterns in the Fourteenth CenturyEnglish PolyphonyGymel and English DiscantSecular Music: Rota7. HUMANISM AND MUSICThe Rise of Renaissance HumanismThe Hundred Years' War and English Music on the ContinentJohn DunstapleThe New Style on the ContinentGuillaume Du FayGilles BinchoisPolyphonic CadencesThe Idea of a New Music8. MUSIC FOR THE RENAISSANCEThe Growth of the Renaissance Musical Style in the NorthJohannes OckeghemThe next generation of Franco-Netherlands composersJosquin des PrezThe Ascendancy of the Northern StyleMusic for Social UseRegional Variations of the Cosmopolitan Style in Secular MusicThe French ChansonEnglish MusicGerman MusicSpanish RepertoiresThe Italian Frottola and MadrigalThe Poetic Model for Musical Expression9. INSTRUMENTAL MUSIC IN THE SIXTEENTH CENTURYThe Place of Instruments in Renaissance MusicRenaissance InstrumentsConsortsBroken ConsortsPlucked InstrumentsKeyboard InstrumentsTablatureInstruments and Vocal MusicInstrumental Adaptations of Vocal Music and GenresInstrumental GenresDancesVariationsInstrumental Pieces in the Style of Improvisations10. THE REFORMATION AND MUSICThe Background of the ReformationThe Music of the Lutheran ReformationThe Calvinist ReformationThe Reformation in EnglandThe Counter-ReformationPalestrinaTomas Luis de Victoria and Roland de LassusFaith, Music, and the Power of Words11. THE CLOSE OF THE SIXTEENTH CENTURYItalian Music at the End of the Sixteenth CenturyLate Renaissance MannerismThe Italian Style in EnglandFranceThe Venetian StyleThe Significance of Late Renaissance Styles12. RATIONALISM AND ITS IMPACT ON MUSICAn Age of ReasonAesthetic ConsiderationsThe Doctrine of AffectionsThe Florentine CamerataMonody and the Basso ContinuoConcertatoSeconda PraticaExpression of New Ideas in New Styles13. NEW GENRES AND STYLES IN THE AGE OF RATIONALISMThree StylesThe Creation of OperaFirst Experiments in OperaOrfeoDevelopments in Italian OperaStylistic TrendsVocal Chamber MusicTexture and FormSacred MusicThe Sacred ConcertoOratorioSeventeenth-Century Instrumental MusicThe FantasiaThe SonataSets of VariationsDance MusicImprovisatory Instrumental Music14. THE LATE SEVENTEENTH CENTURYFrench Opera in the Seventeenth CenturyThe BackgroundThe Beginnings of French OperaMusical Style in French Baroque OperaEnglish Music in the Seventeenth CenturyThe First StuartsThe CommonwealthThe RestorationItalian OperaThe Cantata and Other Vocal Chamber MusicGerman Musical GenresKeyboard MusicMusical DramaThe Development of Instrumental Forms and IdiomsStyle Developments in Instrumental MusicFugueThe SuiteThe Mature Baroque SonataConcerto15. THE EARLY EIGHTEENTH CENTURYThe Character of the Late BaroqueOpera Seria -- Handel and OthersThe IntermezzoOpera in FranceHandel and the OratorioGermanyJohann Sebastian BachBach's Early CareerThe Court of WeimarThe Court of CothenThe City of LeipzigBach's Culmination of Baroque Styles16. NEW CURRENTS IN THE EARLY EIGHTEENTH CENTURYDeparture from the BaroqueThe Development of the Tonal SystemThe Idea of the GalantIn FranceOutside of FranceFrench and Italian Operatic ComedyLa Guerre des BouffonsThe empfindsamer StilCarl Philipp Emanuel BachKeyboard InstrumentsSongStructure in Early Eighteenth-Century Instrumental MusicDevelopments in Instrumental Music17. THE ENLIGHTENMENT AND THE CLASSIC STYLEThe EnlightenmentThe Classic OutlookMusicians in Late Eighteenth-Century SocietyContrasting Careers for Classical Musicians: Haydn and MozartFranz Joseph HaydnWolfgang Amadeus MozartComic Opera in the Early Classic PeriodOpera Seria and Opera ReformInstrumental Genres and the Sonata PlanThe SymphonyThe String QuartetThe Keyboard SonataThe ConcertoThe DivertimentoThe Sonata Form and Its VariantsHarmonic PlanThematic PlanOutline of Sonata FormSome Terminological ClarificationApplications of the Sonata ProcedureExpression and Function18. THE END OF THE EIGHTEENTH CENTURYThe Position of Haydn and MozartChamber MusicSymphonyConcertoMozart's Mature OperasOpera SeriaSingspielCollaboration with Da PonteDie ZauberfloteA New Model for ExpressionThe Classic BeethovenBeethoven's Early Years in BonnBeethoven's First Decade in ViennaThe Music of Beethoven's First Vienna PeriodThe American Colonies and the early United States19. THE RISE OF THE ROMANTIC MOVEMENTPhilosophical Roots of Romantic ThoughtPolitics and Social RevolutionThe Concept of Organic UnityRomantic ArtThemes in Romantic ArtTechniques of Romantic ArtThe Romantic Movement in the History of Musical StyleBeethoven from 1802Beethoven and the Artist as HeroBeethoven's Heroic StyleBeethoven's SketchbooksBeethoven's Personal Life in His Middle PeriodBeethoven's Last PeriodBeethoven's Influence on Nineteenth-Century MusicThe Romantic LiedFranz SchubertEarly Nineteenth-Century Italian OperaRossiniOpera in FranceGerman Romantic OperaThe Social Context for Music in the Nineteenth Century20. DEVELOPMENTS IN ROMANTICISM TO 1850The Context for Mature RomanticismComposers' Life-StylesComposers' Literary and Artistic ActivitiesRomantic Lyricism in Italian OperaStylePerformance PracticeGiuseppe VerdiFrench Grand OperaThe Cult of VirtuositySome "serious" performersLyricism and Virtuosity -- ChopinSalons and Drawing RoomsInstrumental Genres in Romantic MusicPiano MusicOrchestral MusicRomantic Musical StyleExpansion of Sound VocabularyRomantic HarmonyForm in Romantic MusicRecognition of the Musical HeritageThe Midpoint of the Nineteenth Century21. THE SECOND HALF OF THE NINETEENTH CENTURYThe New German SchoolThe Artwork of the FutureWagner's Music DramasWagner's LibrettosWagner's Musical StyleWagner in Social and Political HistoryLate RomanticismAustriaFranceItalyInfluences of the New German StyleWolf and MahlerRichard StraussAlexander SkryabinRealism in Late Nineteenth-Century OperaGiacomo PucciniExoticismLate Nineteenth-Century National StylesBohemiaRussiaNationalism in Other CountriesThe Situation at the End of the Nineteenth Century22. THE ARRIVAL OF THE TWENTIETH CENTURYA Crisis in Artistic Ideas and StylesImpressionismClaude DebussyDiffusion and Limits of ImpressionThe Aesthetics of UglinessPrimitivismExpressionismArnold SchoenbergAlban BergAdvantages and Problems in Atonal ExpressionismAn American Original: Charles Ives23. MODERNISM AND THE PERIOD BETWEEN THE WORLD WARS ModernismA Period of ReadjustmentThe Twelve-Tone Method of CompositionSchoenberg after 1920Adaptations of the Twelve-Tone MethodToward SerialismArtistic ObjectivityNeoclassicismFranceStravinsky's Neoclassic Music and ThoughtGermanyNew Tonal TheoryThe Influence of Regional MusicsThe Music of Socialist Realism in the Soviet UnionThe United StatesJazzIncorporating Jazz into Traditional GenresThe Avant-GardeAmerican Experimentalists24. IN THE SECOND HALF OF THE TWENTIETH CENTURYHistory and Contemporary MusicComposers in Late Twentieth-Century SocietyTotal ControlThe Exploration of New Timbres: Extended TechniquesElectronic MusicComputersThe PerformerIndeterminacyIndeterminacy, Performers, and ComputersAesthetic IssuesPostmodernismPostmodernism in MusicPostmodern Composer and ListenerDiversity in Styles Based on the Western TraditionJuxtapositions and Fusions with Non-Western MusicsMinimalismMixed-Media and Performance-Oriented MusicJazz and Popular MusicJazzRock MusicThe Situation at the Dawn of the Twenty-first Century Appendix A Research and Writing in Music HistoryAppendix B Pronouncing Church Latin: A Quick ReferenceIndex
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31 ratings
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