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• Introduction
• The De Geer Family and the Library at Finspång
• Accumulation of Music
• Three Generations of Louis De Geer
• Jean Jacques De Geer and Jacqueline Cornélie van Assendelft
• Music Added to the Library after 1750
• Printed Publications and Music in Manuscript
• Printed Publications
• Music Manuscripts
• The Music Repertoire
• Catalogue
• Printed Publications with Music
• Music Manuscripts
• Printed Writings about Music
• Index of Names of Composers, Arrangers and Compilers
• Bibliography
• Appendix : Types of Ruled Music Paper in the Finspong Collection
• Index of Names

• List of Figures and Music Examples 1. The Art of Appreciation
• 2. "Audiences of the Future" The Robert Mayer Concerts for Children (1924-1939) 3. Victorians on Radio Music and the Ordinary Listener (1926-1939) 4. Music Education on Film Instruments of the Orchestra (1946) 5. Outside the Ivory Tower Extra-Mural Music at the University of Birmingham (1948-1964) 6. The Avant-Garde Goes to School O Magnum Mysterium (1960) 7. Epilogue The Middlebrow in an Age of Cultural Pluralism Notes Bibliography Index.
• (source: Nielsen Book Data)

From the BBC Proms to Bernstein's Young People's Concerts, initiatives to promote classical music have been a pervasive feature of twentieth-century musical life. The goal of these initiatives was rarely just to reach a larger and more diverse audience but to teach a particular way of listening that would help the public "appreciate" music. This book examines for the first time how and why music appreciation has had such a defining and long-lasting impact-well beyond its roots in late-Victorian liberalism. It traces the networks of music educators, philanthropists, policy makers, critics, composers, and musicians who, rather than resisting new mass media, sought to harness their pedagogic potential. The book explores how listening became embroiled in a nexus of modern problems around citizenship, leisure, and education. In so doing, it ultimately reveals how a new cultural milieu-the middlebrow-emerged at the heart of Britain's experience of modernity.
(source: Nielsen Book Data)

'A captivating mix of memoir and music writing' IRISH TIMES 'A richly textured snapshot survey of artists on art' GUARDIAN ______________________________________ Our favourite albums are our most faithful companions: we listen to them hundreds of times over decades, we know them far better than any novel or film. These records don't just soundtrack our lives but work their way deep inside us, shaping our outlook and identity, forging our friendships and charting our love affairs. They become part of our story. In Long Players, fifty of our finest authors write about the albums that changed their lives, from Deborah Levy on Bowie to Daisy Johnson on Lizzo, Ben Okri on Miles Davis to David Mitchell on Joni Mitchell, Sarah Perry on Rachmaninov to Bernardine Evaristo on Sweet Honey in the Rock. Part meditation on the album form and part candid self-portrait, each of these miniature essays reveals music's power to transport the listener to a particular time and place. REM's Automatic for the People sends Olivia Laing back to first love and heartbreak, Bjork's Post resolves a crisis of faith and sexuality for a young Marlon James, while Fragile by Yes instils in George Saunders the confidence to take his own creative path. This collection is an intoxicating mix of memoir and music writing, spanning the golden age of vinyl and the streaming era, and showing how a single LP can shape a writer's mind. Featuring writing from Ali Smith, Marlon James, Deborah Levy, George Saunders, Bernardine Evaristo, Ian Rankin, Tracey Thorn, Ben Okri, Sarah Perry, Neil Tennant, Rachel Kushner, Clive James, Eimear McBride, Neil Gaiman, Daisy Johnson, David Mitchell, Esi Edugyan, Patricia Lockwood, among many others.
(source: Nielsen Book Data)

• Introduction: A Convocation of Keen Spirits and Vivid Voices
• 1. One, Two, Three . . . Infinity
• 2. The Joy inside Sorrow
• 3. Fidelio's Echo
• 4. Beethoven Invents the Species Again
• 5. A Winter Drive
• 6. Work Song
• 7. Arvo Pärt's Tabula Rasa
• 8. On Chopin's Ballade No. 2, Op. 38
• 9. Pleyel
• 10. Jessye Norman Sings "Die Nachtigall" by Alban Berg
• 11. "Wusuli Boat Song" / "Water Is Wide": History of a Cross-Cultural Duet
• 12. "Loud Dreaming": Of Mothers and Sisters and Lessons in Listening
• 13. Interval / Notation
• 14. A Change Is Gonna Come
• 15. See the Music
• 16. Edward Elgar, Cello Concerto in E Minor, 1919
• 17. Opera Is Indivisible
• 18. Music as a Family Affair
• 19. Your Brother Called
• 20. Holy Song of Thanks
• 21. On Beethoven's String Quartet in B-flat, Op. 130, with the Grosse Fuge
• 22. Adagio
• 23. A Long Song Log: Ten Entries on Seriality, to the Accompaniment of Charles Mingus's Black Saint
• 24. Ghazal for the End of Time
• 25. Spaces for Music
• 26. Going Spatial

An outstanding anthology in which notable musicians, artists, scientists, thinkers, poets, and more-from Gustavo Dudamel and Carrie Mae Weems to Ruth Bader Ginsburg and Paul Muldoon-explore the influence of music on their lives and work Contributors include: Laurie Anderson Jamie Barton Daphne A. Brooks Edgar Choueiri Jeff Dolven Gustavo Dudamel Edward Dusinberre Corinna da Fonseca-Wollheim Frank Gehry James Ginsburg Ruth Bader Ginsburg Jane Hirshfield Pico Iyer Alexander Kluge Nathaniel Mackey Maureen N. McLane Alicia Hall Moran Jason Moran Paul Muldoon Elaine Pagels Robert Pinsky Richard Powers Brian Seibert Arnold Steinhardt Susan Stewart Abigail Washburn Carrie Mae Weems Susan Wheeler C. K. Williams Wu Fei What happens when extraordinary creative spirits-musicians, poets, critics, and scholars, as well as an architect, a visual artist, a filmmaker, a scientist, and a legendary Supreme Court justice-are asked to reflect on their favorite music? The result is Ways of Hearing, a diverse collection that explores the ways music shapes us and our shared culture. These acts of musical witness bear fruit through personal essays, conversations and interviews, improvisatory meditations, poetry, and visual art. They sound the depths of a remarkable range of musical genres, including opera, jazz, bluegrass, and concert music both classical and contemporary. This expansive volume spans styles and subjects, including Pico Iyer's meditations on Handel, Arnold Steinhardt's thoughts on Beethoven's Grosse Fuge, and Laurie Anderson and Edgar Choueiri's manifesto for spatial music. Richard Powers discusses the one thing about music he's never told anyone, Daphne Brooks draws sonic connections between Toni Morrison and Cecile McLorin Salvant, and Ruth Bader Ginsburg reveals what she thinks is the sexiest duet in opera. Poems interspersed throughout further expand how we can imagine and respond to music. Ways of Hearing is a book for our times that celebrates the infinite ways music enhances our lives.
(source: Nielsen Book Data)

The drum kit has provided the pulse of popular music from before the dawn of jazz up to the present day pop charts. Kick It, a provocative social history of the instrument, looks closely at key innovators in the development of the drum kit: inventors and manufacturers like the Ludwig and Zildjian dynasties, jazz icons like Gene Krupa and Max Roach, rock stars from Ringo Starr to Keith Moon, and popular artists who haven't always got their dues as drummers, such as Karen Carpenter and J Dilla. Tackling the history of race relations, global migration, and the changing tension between high and low culture, author Matt Brennan makes the case for the drum kit's role as one of the most transformative musical inventions of the modern era. Kick It shows how the drum kit and drummers helped change modern music-and society as a whole-from the bottom up.
(source: Nielsen Book Data)

• chapter 1 Situated Listening
• chapter 2 The Question of the Listening Subject: Ecological Perspectives on Sound, Perception, and Musical Performance
• chapter 3 Embodied Interactions in Instrumental Space
• chapter 4 Finding a Shared Voice in Intercultural Collaboration
• chapter 5 Being-in-the-Presence-of the River: Embodied Listening and Eco-Systemic Sound Art
• chapter 6 Thinking-through-Listening.

Our contemporary, globalised society demands new forms of listening. But what are these new forms? Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body - a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools - and even the body itself - into resistant objects or musical Others. Supported by extensive multimedia documentation and drawing on examples from the author's own artistic projects spanning electronics, intercultural collaboration, and ecological sound art, this volume enables musicians to learn how to approach musical Others through alternative modes of listening and allows readers to discover artistic methods for intercultural collaboration and ecological sound art practices. This book is closely linked to a series of cutting-edge artistic works, including a triple concerto recorded with the Seattle Symphony and several video works with ecological sound art. It represents the analytical outcomes of artistic research projects carried out in Sweden, the UK, and Belgium between 2009 and 2015.

• Part 1. Mindset & Philosophy
• Chapter 1: Orientation to Online Education
• Chapter 2: Philosophy and Mindset for Online Education
• Part 2. Planning the Course
• Chapter 3: Big-Picture Planning and Backwards Mapping
• Chapter 4: Curriculum Content
• Chapter 5: Methods and Strategies
• Part 3. Specifics of Course Components & Samples
• Chapter 6: Forum Discussions
• Chapter 7: Quizzes, Tests, & Assessments
• Chapter 8: Assignments
• Chapter 9: Rubrics and Evaluation Tools
• Chapter 10: Multimedia Assets
• Part 4. Preparing, Teaching, and Ending the Course
• Chapter 11: Preparing the Online Classroom
• Chapter 12: Teaching the Course
• Chapter 13: Assisting Students
• Chapter 14: Ending the Course
• Chapter 15: Teaching Multiple Courses or at Multiple Institutions Appendices Index.
• (source: Nielsen Book Data)

In this book, readers will learn practical tips and strategies to teach music appreciation online. As online education is a growing field, an increasing number of teachers trained in traditional/live methods find themselves now teaching online and potentially without mentors to assist them. Students are also changing, seeking highly engaged, relevant, and interactive learning opportunities that connect to their lives. Here, readers will find helpful guidance in planning curriculum, integrating multimedia assets, designing forum discussions, developing assignments, preparing rubrics, engaging in forum discussions, preparing, managing, and teaching, the course, providing feedback and grading, and following up with struggling and challenging students. The book can serve as a resource to those already teaching music appreciation online or as a comprehensive guide to those new to the field. Additionally, it may serve as a resource to instructors in other disciplines who seek to shift live-courses to the online format, as well as music appreciation instructors who would like to integrate digital or online components into traditional face-to-face courses. The book is organized into five major sections, designed to guide the novice online educator in depth while also appealing to the seasoned veteran through the ability to review each section as a stand-alone resource. Although some readers will desire to read from cover to cover, they will also be able to move in a non-linear manner from chapter to chapter, using chapters in modular form, in order to benefit from the sections that most apply to them at any given time.
(source: Nielsen Book Data)

• Acknowledgements Introduction Richard Glover, Jennie Gottschalk, and Bryn Harrison Chapter One: Foreshadowing and Recollection: Listening Through Morton Feldman's Piano, Violin, Viola, Cello Bryn Harrison Postlude to Chapter One Richard Glover Chapter Two: Musical brevity in James Saunders' Compatibility hides itself and 511 possible mosaics Bryn Harrison Postlude to Chapter Two Jennie Gottschalk Chapter Three: Separation and Continuity in Chiyoko Szlavnics' Gradients of Detail Richard Glover Postlude to Chapter Three Jennie Gottschalk Chapter Four: Filtering Temporality in Ryoji Ikeda's +/- Richard Glover Postlude to Chapter Four Bryn Harrison Chapter Five: Granulated Time: Toshiya Tsunoda's O Kokos Tis Anixis Jennie Gottschalk Postlude to Chapter Five Bryn Harrison Chapter Six: Monoliths: Laurie Spiegel's The Expanding Universe and Andre O. Moeller's musik fur orgel und eine(n) tonsetzer(in) Jennie Gottschalk Postlude to Chapter Six Richard Glover Chapter Seven: Observations on Musical Behaviors and Temporality Richard Glover, Jennie Gottschalk, and Bryn Harrison Epilogue Appendix: Suggested Further Reading and Listening.
• (source: Nielsen Book Data)

Being Time invites a deep consideration of the personal experience of temporality in music, focusing on the perceptual role of the listener. Through individual case studies, this book centers on musical works that deal with time in radical ways. These include pieces by Morton Feldman, James Saunders, Chiyoko Szlavnics, Ryoji Ikeda, Toshiya Tsunoda, Laurie Spiegel and Andre O. Moeller. Multiple perspectives are explored through a series of encounters, initially between an individual and a work, and subsequently with each author's varying experiences of temporality. The authors compare their responses to features such as repetition, speed, duration and scale from a perceptual standpoint, drawing in reflections on aspects such as musical memory and anticipation. The observations made in this book are accessible and relevant to readers who are interested in exploring issues of temporality from a broad range of disciplinary perspectives.
(source: Nielsen Book Data)

• Introduction
• Why music?
• The heart of the matter
• Harnessing (human) nature
• Time: real and imaginary
• Invisible structures
• Pay attention!
• The first time: weaving the web of continuity
• The concert experience
• Your playlist, your life

• Introduction / Part I Music History to 1500 /
• Chapter 1 Music of Small-Scale Societies /
• Chapter 2 Ancient and Medieval Religious Music /
• Chapter 3 Ancient and Medieval Secular Music / Part II Music History from 1500 to 1900 /
• Chapter 4 Music from the European Age of Discovery (1500-1600) /
• Chapter 5 Music from the Age of Global Commerce (1600-1750) /
• Chapter 6 Music from the Age of Enlightenment and Revolution (1750-1800) /
• Chapter 7 Music from the Early Nineteenth Century (1800-1850) /
• Chapter 8 Music from the Late Nineteenth Century (1850-1900) / Part III Music History during the Long Twentieth Century /
• Chapter 9 Music from the Turn of the Twentieth Century (1890-1918) /
• Chapter 10 Music from the Interwar Period (1918-1939) /
• Chapter 11 Music during World War II and its Aftermath (1939-1950) /
• Chapter 12 Music from an Age of Disenchantment and Protest (1950-1975) /
• Chapter 13 Music and Community (1975-1994) /
• Chapter 14 Music Today / Where Do We Go from Here?
• (source: Nielsen Book Data)

Gateways to Understanding Music explores music in all the categories that constitute contemporary musical experience: European classical music, popular music, jazz, and world music. Covering the oldest forms of human music making to the newest, the chronological narrative considers music from a global rather than a Eurocentric perspective. Each of sixty modular "gateways" covers a particular genre, style, or period of music. Every gateway opens with a guided listening example that unlocks a world of music through careful study of its structural elements. Based on their listening experience, students are asked to consider how the piece came to be composed or performed, how the piece or performance responded to the social and cultural issues at the time and place of its creation, and what that music means today. Students learn to listen to, explain, understand, and ultimately value all the music they may encounter in their world. FEATURES Global scope-Presents all music as worthy of study, including classical, world, popular, and jazz. Historical narrative-Begins with small-scale forager societies up to the present, with a shifting focus from global to European to American influences. Modular framework-60 gateways in 14 chapters allow flexibility to organize chronologically or by the seven recurring themes: aesthetics, emotion, social life, links to culture, politics, economics, and technology. Listening-guided learning-Leads to understanding the emotion, meaning, significance, and history of music. Introduction of musical concepts-Defined as needed and compiled into a Glossary for reference. Consistent structure-With the same step-by-step format, students learn through repeated practice how to listen and how to think about music. In addition to streamed audio examples, the companion website hosts essential instructors' resources.
(source: Nielsen Book Data)

"The essential reference for music history and music theory instructors for finding specific listings and details for all the pieces included in more than 140 anthologies published between 1931 and 2016. Containing over 5,000 individual listings, this concise book is an indispensable tool for teaching music history and theory. Since many anthologies exist in multiple editions, this Index provides instructors, students, and researchers with the means to locate specific compositions in both print and online anthologies. This book includes listings by composer and title, as well as indexes of authors, titles, and first lines of text for music from antiquity through the early twenty-first century"--Page 4 of cover.

• Music Fundamentals
• Chapter 1: Experiencing Music
• Chapter 2: Listening to Music
• Chapter 3: Three Listening Examples
• Musical Identities
• Chapter 4: Music and the Life Cycle
• Chapter 5: Music and Ethnicity
• Chapter 6: Music and Gender
• Chapter 7: Music and Spirituality
• Musical Intersections
• Chapter 8: Music and Nation
• Chapter 9: Music and War
• Chapter 10: Music and Love
• Musical Narratives
• Chapter 11: American Musical Theater
• Chapter 12: Music and Film
• Chapter 13: Music and Dance
• Chapter 14: Music and Concert
• Chapter 15: Music and Technology.
• (source: Nielsen Book Data)

By taking a thematic approach to the study of music appreciation, Music: A Social Experience, Second Edition demonstrates how music reflects and deepens both individual and cultural understandings. Musical examples are presented within universally experienced social frameworks (ethnicity, gender, spirituality, love, and more) to help students understand how music reflects and advances human experience. Students engage with multiple genres (Western art music, popular music, and world music) through lively narratives and innovative activities. A companion website features streaming audio and instructors' resources. New to this edition: Two additional chapters: "Music and the Life Cycle" and "Music and Technology" Essay questions and "key terms" lists at the ends of chapters Additional repertoire and listening guides covering all historical periods of Western art music Expanded instructors' resources Many additional images Updated student web materials.
(source: Nielsen Book Data)

• Portugal, Spain and the world. The setting ; A glimpse at Iberian music and dance ; The jota ; The vira ; The romance ; Historical trajectories on the Iberian peninsula ; A shared heterogeneous early history ; Maritine expansion ; From authoritarian regimes to democracy
• The construction of region and nation through music and dance. Nineteenth-century nationalism and regionalism ; The sardana : the "national dance" of Catalonia ; Dictatorships, nationalism, and expressive culture ; Music and dance traditions in democracy ; Singing alentejo ; Staging Catabrian identity ; Piping in Galicia and Terras de Miranda do Douro
• Music in fiestas. The world of fiestas in Portugal and spain ; The fiestas de San Juan de Soria ; The romaria de São João d'Arga ; Final observations
• Fado. An evening of fado in Mouraria ; What is fado? ; The fado icon Amália Rodrigues ; Origins and historical trajectory ; Fado in the twenty-first century
• Flamenco. A session at the Peña Flamenca de Córdoba ; What is flamenco? ; Musical characteristics and lyrics ; Origins and early history ; La Niña de los Peines ; Revitalization ; New paths ; Icons of nuevo flamenco : Camarón de la Isla, Enrique Morente, and Paco de Lucía ; Flamenco as heritage

• CD contents. Jota de rondalla y de baile (Martín Alonso, voice and rondalla)
• Cavaquinho "Vira minhoto" (Júlio Pereira)
• Romance "Gerineldo : El paje y la infantina" (Agripina Santiago)
• Romance "Gerinaldo" (Maria Falcdo)
• Cantiga de Romaria "Senhora do Almortão" (Adufeiras de Monsanto)
• Txalaparta "Toque ttakun ttan ttakun" : preceded by horn calls (Juan Mari Beltrán Argiñena and Ander Barrenetxea)
• "Mbira do norte" : Gaiteiros de Lisboa / composed by José Manuel David ; from the recording titled Macaréu
• Sardana "Tossa Bonica" (Cobla Principal de la Bisbal) / composed by Francesc Mas i Ros
• Fandango do Ribatejo (Rancho Foklórico "Os Camponeses" de Riachos, Ribatejo, Portugal
• Moda : "Alentejo, Alentejo" (Grupo Coral e Etnográfico da Casa do Povo de Serpa, Alentjeo, Portugal)
• Pandereta "Jota a lo ligero" (Ester Montes, pandereta and voice)
• Rabel "Jota de Adela" (Chema Puente, rabel and voice)
• "Chouteira" (Milladoiro)
• Laço "Campanitas de Toledo" (Desidério Luís Afonso, bagpipe ; Aurelian Ribeiro, snare drum ; José Manuel Torrado, bass drum)
• Procession march "Templo de Diana" (Banda União Filarmónica do Troviscal, Portugal)
• Passacalhes (Virgilio Cristal, pipe and tabor)
• "La entradilla" : dulzaina, processional dance (Ricardo Ramos, dulzaina ; Alfredo Ramos, snare drum)
• Villancico "Nochebuena" : voices, rondalla, zambombas, and calderillos (neighbors of Serranillos, ́Avila, Spain)
• Canción sanjuanera "Adiós, San Juan" Banda Municipal de Soria ; Coral de Soria ; José Manuel Aceñia, conducor
• Fado-canção "Gaivota" (Amália Rodrigues, voice) / composed by Alain Oulman (music) and Alexandre O'Neill (lyrics)
• Fado castiço "A casa da Mariquinhas" (Alfredo Marceneiro, voice) / composed by Alfredo Marceneiro (music) and João Silva Tavares (lyrics)
• Tangos "De color de cera, mare" (La Niña de los Peines, voice ; Melchor de Marchena, Spanish guitar)

"Ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on music of the Iberian Peninsula, Music in Portugal and Spain: Experiencing Music, Expressing Culture introduces students to the diverse musical cultures of these two Iberian countries. It devotes separate chapters to fado and flamenco, focusing on the repertoire, musical characteristics, historical trajectories, iconic figures, and current trends. The authors also discuss Christian, Muslim, and Jewish legacies and the musical repercussions of the colonial encounter of Portugal and Spain. Throughout the book, they show how social, cultural, and political environments contribute to shaping music and its meanings ... Accompanied by a seventy-minute CD with examples of music discussed in the text and a free, open-access companion website, with supplementary material for instructors and students, including educational music examples"-- Provided by publisher

A gem of a book, unlike any other work. The stunningly gifted violinist Alda Dizdari fell in love with Elgar's violin concerto, and decided - against many odds - to introduce it to Albania and Romania. The result is a fascinating book which does three things at once. It tells us about the concerto, from a soloist's point of view; it describes the experiences of a travelling musician, encountering unknown orchestras and unpredictable conductors; and it explores Alda's own feelings and memories as she revisited Albania, the country of her early childhood, and Romania, where she spent some of her formative years. Interspersed with the text are extracts from recordings of the concerts; while they illuminate the book, the experiences she describes give them a richer meaning too. Sir Noel Malcolm, Senior Research Fellow, All Souls College, Oxford; author of George Enescu: His Life and Music.
(source: Nielsen Book Data)

• The Elements of Music: A Brief Introduction PART I: THE MIDDLE AGES
• 1. Hildegard von Bingen, Play of Virtues (excerpt)
• 2. San Ildefonso Indians of New Mexico, Eagle Dance
• 3. Plainchant Alleluia, "Caro mea"
• 4. Francesco Landini, "Behold, Spring"
• 5. Guillaume de Machaut, "No More than One Man Could Count the Stars"
• 6. Alfonso el Sabio, Songs to the Virgin Mary, no. 147, "The Talking Sheep" PART II: THE RENAISSANCE
• 7. Josquin des Prez, "The Cricket"
• 8. Thomas Weelkes, "Since Robin Hood"
• 9. William Byrd, "Sing Joyfully"
• 10. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, "Gloria"
• 11. Rhyming Singers of the Bahamas, "My Lord Help Me to Pray"
• 12. Tielman Susato, Moorish Dance PART III: THE BAROQUE ERA
• 13. Claudio Monteverdi, Orpheus, selection from Act II
• 14. Henry Purcell, Dido and Aeneas, selections
• 15. Mbuti Pygmies, "Marriage Celebration Song"
• 16. Barbara Strozzi, "Revenge"
• 17. Antonio Vivaldi, The Four Seasons, "Winter, " first movement
• 18. Johann Sebastian Bach, Fugue in G Minor, BWV 578 ("Little" Fugue)
• 19. Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, finale
• 20. Johann Sebastian Bach, Cantata
• 140: Awake, a Voice Calls to Us, selections
• 21. George Frideric Handel, Messiah, selections PART IV: THE CLASSICAL ERA
• 22. Joseph Haydn, String Quartet in C Major, op. 76, no. 3, second movement
• 23. Master Musicians of the Ikuta-ryu, Cherry Blossom
• 24. Joseph Haydn, Symphony no. 102 in B-flat Major, third and fourth movements
• 25. Wolfgang Amadeus Mozart, Symphony no. 40 in G Minor, K. 550, first movement
• 26. Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488, first movement
• 27. Wolfgang Amadeus Mozart, The Marriage of Figaro, Act I, "Cosa sento"
• 28. Jingju, "The Reunion"
• 29. William Billings, "Chester" PART V: THE NINETEENTH CENTURY
• 30. Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67
• 31. Franz Schubert, "Erlkonig, " D. 328
• 32. Felix Mendelssohn, Overture to A Midsummer Night's Dream
• 33. Hector Berlioz, Symphonie fantastique, fourth movement ("March to the Scaffold")
• 34. Fanny Mendelssohn Hensel, Piano Trio in D Minor, op. 11, third movement ("Song")
• 35. Robert Schumann, "Dedication"
• 36. Clara Wieck Schumann, "Forward!"
• 37. Frederic Chopin, Mazurka in B-flat Major, op. 7, no. 1
• 38. Louis Moreau Gottschalk, Union: Concert Paraphrase on National Airs
• 39. Ravi Shankar, Raga Sindhi-Bhairavi
• 40. Giuseppe Verdi, La Traviata, Act I, selection ("Follie!")
• 41. Richard Wagner, The Valkyrie, Act III, selection ("Wotan's Farewell")
• 42. Peter Ilyich Tchaikovsky, Swan Lake, Act IV, finale
• 43. Johannes Brahms, Symphony no. 4 in E Minor, op. 98, finale
• 44. Antonin DvoYak, String Quartet in F Major, op. 96 ("American"), third movement PART VI: SINCE 1900
• 45. Claude Debussy, Voiles
• 46. Charles Ives, The Unanswered Question
• 47. Arnold Schoenberg, "Columbine" from Pierrot lunaire
• 48. Igor Stravinsky, The Rite of Spring, Part One
• 49. Scott Joplin, Maple Leaf Rag
• 50. Robert Johnson, "Terraplane Blues"
• 51. Duke Ellington, "Cotton Tail"
• 52. Charlie Parker, "Ornithology"
• 53. Ruth Crawford, Piano Study in Mixed Accents
• 54. Germaine Tailleferre, Concertino for Harp and Orchestra, finale
• 55. William Grant Still, "A Black Pierrot" from Songs of Separation
• 56. Aaron Copland, "Hoe-Down" from Rodeo
• 57. Bela Bartok, Concerto for Orchestra, second movement ("Game of Pairs")
• 58. Leonard Bernstein, "Tonight" from West Side Story
• 59. John Cage, Sonata II from Sonatas and Interludes
• 60. Gamelan Gong Kebyar of Belaluan, Bali, Kebyar Ding III, "Oncang-oncangan"
• 61. Philip Glass, "Knee Play 1" from Einstein on the Beach
• 62. Mahalia Jackson, "It Don't Cost Very Much"
• 63. Tania Leon, A la Par, second movement ("Guaguanco")
• 64. Corey Dargel, "On This Date Every Year"
• 65. Austin Wintory, "Nascence, " from Journey Revel Bonus Chapters
• 66. Chuck Berry, "School Day"
• 67. The Sex Pistols, "God Save the Queen"
• 68. Public Enemy, "Fight the Power"
• 69. John Williams, "The Walls Converge, " from Star Wars.
• (source: Nielsen Book Data)

For courses in Music Appreciation Listen to the music. Hear the elements. Connect your playlist. Listen to This is designed to connect students' interest in the music on their own playlists with great music from throughout history and all over the world. It is based on the idea that all music is built on a combination of a few basic elements - melody, dynamics, rhythm, harmony, texture, timbre, form, and word-music relationships - and if students listen for those elements they can better understand how a piece of music works, no matter how unfamiliar it may seem at first. This elements-centered approach provides a strong foundation for learning about, and enjoying, many new musical styles. The Fourth Edition includes expanded coverage of timbre as well as new chapters on additional musical works. Listen to This, Fourth Edition is also available via Revel(TM), an interactive digital learning environment that replaces the print textbook, enabling students to read, practice, and study in one continuous experience. Revel is ideal for courses where student engagement and mobile access are important. Available to package with Listen to This, Fourth Edition, MyLab(TM) Music for the Music Appreciation course is an online homework, tutorial, and assessment program designed to work with this text to engage students and improve results. MyLab Music also gives students access to the music and listening guides that accompany the text. Please note: this version of MyLab Music does not include an eText. Note: You are purchasing a standalone product; MyLab does not come packaged with this content. Students, if interested in purchasing this title with MyLab, ask your instructor for the correct package ISBN and Course ID. Instructors, contact your Pearson representative for more information. 0134492099 / 9780134492094 Listen to This plus MyLab Music for Music Appreciation - Access Card Package, 4/e Package consists of: *0134419510 / 9780134419510 Listen to This, 4/e*0134489500 / 9780134489506 MyLab Music for Music Appreciation.
(source: Nielsen Book Data)

• PrefacePart I Element
• s1. Sound: Pitch, Dynamics, and Tone Colo
• r2. Performing Media: Voices and Instrument
• s3. Rhyth
• m4. Music Notatio
• n5. Melod
• y6. Harmon
• y7. Ke
• y8. Musical Textur
• e9. Musical For
• m10. Performance
• 11. Musical StylePart II The Middle Age
• s1. Music In The Middle Ages (450-1450
• )2. Gregorian Chan
• t3. Secular Music in the Midde Age
• s4. The Development of Polyphony: Organu
• m5. Fourteenth -Century Music: The "New Art" in Italy and FrancePart III The Renaissance
• 1. Music in the Renaissance (1450 - 1600)
• 2. Sacred Music in the Renaissance
• 3. Secular Music in the Renaissance
• 4. The Venetian School: From Renaissance to BaroquePart IV The Baroque Perio
• d1. Baroque Music (1600-1750
• )2. Music In Baroque Societ
• y3. The Concerto Grosso And Ritornello For
• m4. The Fugu
• e5. The Elements Of Oper
• a6. Opera In The Baroque Er
• a7. Claudio Monteverd
• i8. Henry Purcel
• l9. The Baroque Sonat
• a10. Arcangelo Corell
• i11. Antonio Vivald
• i12. Johann Sebastian Bac
• h13. The Baroque Suit
• e14. The Chorale And Church Cantat
• a15. The Oratori
• o16. George Frideric HandelPart V The Classical Perio
• d1. The Classical Style (1750-1820
• )2. Composer, Patron, And Public In The Classical Perio
• d3. Sonata For
• m4. Theme And Variation
• s5. Minuet And Tri
• o6. Rond
• o7. The Classical Symphon
• y8. The Classical Concert
• o9. Classical Chamber Musi
• c10. Joseph Hady
• n11. Wolfgang Amadeus Mozar
• t12. Ludwig Van BeethovenPart VI The Romantic Perio
• d1. Romanticism In Music (1820-1900
• )2. Romantic Composers And Their Publi
• c3. The Art Son
• g4. Franz Schuber
• t5. Robert Schumann
• 6. Clara Wieck Schuman
• n7. Frederic Chopi
• n8. Franz Lisz
• t9. Felix Mendelssoh
• n10. Program Musi
• c11. Hector Berlio
• z12. Nationalism In Nineteenth-Century Musi
• c13. Peter Ilyich Tchaikovsk
• y14. Bed rich Smetan
• a15. Antonin Dvora
• k16. Johannes Brahms
• 17. Georges Bize
• t18. Giuseppe Verd
• i19. Giacomo Puccin
• i20. Richard Wagner
• 21. Gustav MahlerPart VII The Twentieth Centur
• y1. Musical Styles: 1900
• -19452. Music and Musicians in Society since
• 19003. Impressionism and Symbolis
• m4. Claude Debuss
• y5. Maurice Rave
• l6. Neoclassicis
• m7. Igor Stravinsk
• y8. Expressionis
• m9. Arnold Schoenber
• g10. Alban Ber
• g11. Anton Weber
• n12. Bela Barto
• k13. Dmitri Shostakovic
• h14. Music in Americ
• a15. Charles Ive
• s16. George Gershwi
• n17. William Grant Stil
• l18. Aaron Coplan
• d19. Albert Ginester
• a20. Musical Styles Since
• 194521. Music Since
• 1945: Five Representative PiecesPart VIII Jaz
• z1. Jazz Styles
• 2. Ragtime
• 3. Blue
• 4. New Orleans Style
• 5. Swing
• 6. Bebop
• 7. Jazz Styles since 1950Part IX Music for Stage and Scree
• n1. Musical Theater
• 2. Leonard Bernstein
• 3. Music in Film Part X Roc
• k1. Rock Styles
• 2. Rock in American Society
• 3. The BeatlesPart XI Nonwestern Musi
• c1. Music in Nonwestern Culture
• s2. Music In Sub-Saharan Afric
• a3. Classical Music Of India
• 4. Koto Music of Japan AppendixesGlossaryAcknowledgmentsPhoto CreditsIndex.
• (source: Nielsen Book Data)

McGraw-Hill is revolutionizing the Music Appreciation course by introducing its first personalized digital learning experience with Roger Kamien's Music: An Appreciation. Using this market-leading instrument that brings great music to the course in more ways than ever before, students are now transformed into active participants in the Music Appreciation space. The result is active listening, active reading, and active learning. Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, so that your class time is more engaging and effective. It provides tools that make assessment easier, learning more engaging, and studying more efficient.
(source: Nielsen Book Data)

Part of the ALL-NEW LADYBIRD EXPERT SERIES. ____________ How did modern classical music develop over the 20th Century? What enabled women to get their music performed in the early 1900s? Which classical composers borrowed from jazz? How did composers respond to politics and war? DISCOVER the stories behind Mahler's, Symphony No. 5 (1901-2), Ullman's Piano Sonata No. 7 (1944), Bernstein's West Side Story (1957), as well as learn about minimalism, jazz, swing, opera . . . AND UNDERSTAND TWENTIETH CENTURY CLASSICAL MUSIC. Discover the answers and more inside Fiona Maddocks' Twentieth Century Classical Music, the thrilling and accessible account that explains what happened throughout the 20th century, who the key composers were and what influenced them to write what they did?
(source: Nielsen Book Data)

• Introduction: studying musics of the world's cultures
• Music of South Asia
• Music of the Middle East and North Africa
• Musics of East Asia I: China
• Musics of East Asia II: Korea
• Musics of East Asia III: Japan
• Music of Indonesia
• Music of Sub-Saharan Africa
• The musical culture of Europe
• Music in Latin America
• Music in the Caribbean
• Native American music
• Music of ethnic North America.

• Disc 1. Demonstration of raga : mini alap
• Demonstration of raga : sitar and tabla
• Tabla demonstration of talas
• Tabla compositions in fast tempo
• Kriti / by Tyagaraja : "Banturiti"
• Qawal : "Nât Sharîf"
• Bengali folk music : "Baul song"
• Tunisian Sufi song : "ʻĪsāwiyya Medley"
• Taqāsīm Bayyātī and Samāʻī Bayyātī al-Aryan
• Buselik Așiran Peșrev
• Dastgah of Shour
• Tunisian Stambeli : "Sīdī Marzūg"
• Qurʹanic recitation
• Moroccan Jewish song
• Silk and bamboo : Hua san liu ("Embellished three-six")
• Jingju : narrative aria
• Jingju : dramatic aria
• "We workers have strength"
• World Cup soundscape
• "Arirang" medley
• Pansori from "Simcheong-ga."

• Disc 2. Royal ancestral shrine music
• Samulnori
• "A person like the wind"
• Kabuki nagauta music from the play Dojoji
• Noh play Hagoromo ("The robe of feathers")
• Gagaku piece : Netori (prelude) and Entenraku in Hyojo
• Bubaran : "Udan mas" (Golden rain)
• Ketawang : "Puspawarna"
• Gamelan gong kebyar : "Kebyar Teruna"
• Gambus : "Cari haburan"
• "Curahan hati"
• Kroncong : "Morisko"
• Mbira music : "Nhemamusasa"
• Bambuti vocal music : "Elima girls initiation music"
• Mande kora music : "Ala l'a ke"
• Ewe dance drumming : "Gadzo," a theatrical dance
• Greetings and praises on the Yoruba dù̀ndún drum
• Musical bow played by a Ndaka man
• Spanish work song : "La trilla"
• "Das Wiener Fiakerlied" ("The Viennese coachman's song")
• "Khused" (Chassidic dance)
• "The owl woman's ballad"
• Béla Bartók : Two duos from the 44 violin duos
• "Black is [the color of my true love's hair]."

• Disc 3. "Steirischer mit Gestanzln" ("Dance from Styria, with stanzas")
• "Tzarina Miliča und Duke Vladeta"
• Luis Towers : "Mama Africa"
• Tango : "El choclo"
• Panpipe music : "Manuelita"
• Marimba dance : "Currulao bambuco"
• "La malaguena"
• Popular Wayno (Huayno) music
• "Fuego de cumbia (Cumbia fire)"
• Rake 'n' scrape : "Times table"
• Calypso : "No, doctor, no"
• Rumba Guaguancó : "Consuelate como yo"
• Punta
• Merengue típico : "Consangración de Cariña"
• Blackfoot war or Grass dance song
• Creek stomp dance song
• Walapai funeral song
• Lummi stick game song
• Pawnee ghost dance song : "The yellow star"
• Kiowa peyote song : "Opening prayer song"
• Two modern powwow love songs
• Jim Pepper : "Newly wed song"
• "Miss Sue from Alabama"
• Clarence Ashley : "The house carpenter"
• Dwight Lamb : "Rocky road to Jordan"
• "Precious lord, take my hand"
• Blind Lemon Jefferson : "Matchbox blues."

Excursions in World Music is a comprehensive introductory textbook to world music, creating a panoramic experience for students by engaging the many cultures around the globe and highlighting the sheer diversity to be experienced in the world of music. At the same time, the text illustrates the often profound ways through which a deeper exploration of these many different communities can reveal overlaps, shared horizons, and common concerns in spite of and, because of, this very diversity. The new seventh edition introduces five brand new chapters, including chapters by three new contributors on the Middle East, South Asia, and Korea, as well as a new chapter on Latin America along with a new introduction written by Timothy Rommen. General updates have been made to other chapters, replacing visuals and updating charts/statistics. Excursions in World Music remains a favorite among ethnomusicologists who want students to explore the in-depth knowledge and scholarship that animates regional studies of world music. A companion website with a new test bank and instructor's manual is available for instructors. Numerous resources are posted for students, including streamed audio listening, interactive quizzes, flashcards, and an interactive map with pinpoints of interest and activities. An ancillary package of a 3-CD set of audio tracks is available for separate purchase. PURCHASING OPTIONS Paperback: 9781138101463 Hardback: 9781138688568 eBook Pack - eBook and mp3 file: 9781315619378* Print Paperback Pack - Book and CD set: 9781138666443 Print Hardback Pack - Book and CD set: 9781138666436 Audio CD: 9781138688032 *See VitalSource.com for various eBook options (mp3 audio compilation not available for separate sale).
(source: Nielsen Book Data)

A celebration of music from the creator of Alan Partridge, The Thick of It, Veep and The Death of Stalin.All my days, I've felt pressurized by the anonymous Keepers of the Cool who tell us what we should be wearing this year, what digital boxsets we should bunker ourselves in to enjoy, what amazing app is the only one we should be shrieking emotions at our recently acquired friends with. Thankfully, I have the one consolation that if I don't quite fit into all of this, everyone else probably feels the same way. So, I say defiantly, I get more moved and excited by classical music than by any other musical genre. I believe that it is there for us all, inviting us to reach out and touch it.In Hear Me Out Armando Iannucci brilliantly conveys the joy of his musical exploration, each discovery suggesting a fresh direction of travel, another piece, another composer, another time.
(source: Nielsen Book Data)

For many of us, classical music is something serious-something we study in school, something played by cultivated musicians at fancy gatherings. In Language of the Spirit, renowned music scholar Jan Swafford argues that we have it all wrong: classical music has something for everyone and is accessible to all. Ranging from Gregorian chant to Handel's Messiah, from Vivaldi's The Four Seasons to the postmodern work of Philip Glass, Swafford is an affable and expert guide to the genre. He traces the history of Western music, introduces readers to the most important composers and compositions, and explains the underlying structure and logic of their music. Language of the Spirit is essential reading for anyone who has ever wished to know more about this sublime art.
(source: Nielsen Book Data)

• Listening: not merely an "inner vision" - Active Listening - Historical Aspects - Stirring and Calming Music - Emotional Listening - Psychological Categories - Exemplary Semantical Analyses - The list of composers adduced extends from Wolfgang Amadeus Mozart to Leonard Bernstein.
• (source: Nielsen Book Data)

To grasp music in its depth dimension is an art that can be learned and perfected. Categories of formal analysis here play a subordinate role - at least as important it is to be consciously aware of timbres, dynamic processes, musical characters and expressions. Following general reflections about the art of listening, the volume in hand presents exemplary work analyses. The roster of composers introduced extends from Mozart to Bernstein, that of the genres discussed from the piano piece to the opera. A detailed register and a survey of the chief works referred to make this book an indispensable companion for both scholars and laymen. About the German edition of this book: "In Floros' book all these details unite to form a magnificent mosaic. Individual works discussed meet us in an entirely new light, and we begin to decipher the language of music with a different set of tools." (Helmut Peters).
(source: Nielsen Book Data)

• Table of Contents List of Figures List of Tables Series Editors' Preface Acknowledgments List of Abbreviations
• Introduction
• Part I: Philosophy Chapter 1 Listening and Musical Meaning Chapter 2 Listening and Musical Understanding
• Part II: Observation Chapter 3 The Study: Description and Literature Review Chapter 4 Embodying the Experience Chapter 5 Organizing the Experience Chapter 6 Navigating Real and Virtual Spaces Chapter 7 Developing Musical Selves
• Part III: Practice Chapter 8 Listening, Creativity and the Music Classroom Chapter 9 Multimedia, Hermeneutics and the Music Classroom
• Appendices Bibliography Index.
• (source: Nielsen Book Data)

In an age when students come to class with more varied music listening preferences and experiences than ever before, music educators can find themselves at a loss for how to connect with their students. Listening in Action provides the beginnings of a solution to this problem by characterizing students' contemporary music listening experiences as they are mediated by digital technologies. Several components of contemporary music listening experiences are described, including: the relationship between music listening experiences and listener engagements with other activities; listener agency in creating playlists and listening experiences as a whole; and the development of adolescent identities as related to the agency afforded by music listening devices. The book provides an accessible introduction to scholarship on music listening across the disciplines of musicology, ethnomusicology, sociology of music, psychology of music, and music education. By reading Listening in Action, music educators can gain an understanding of recent theories of music listening in everyday life and how those theories might be applied to bridge the gap between music pedagogies and students who encounter music in a heavily mediated, postperformance world.
(source: Nielsen Book Data)

As featured in the Telegraph and on Radio 4's Today programme. 'Year of Wonder is an absolute treat - the most enlightening way to be guided through the year.' Eddie RedmayneClassical music for everyone - an inspirational piece of music for every day of the year, celebrating composers from the medieval era to the present day, written by award-winning violinist and BBC Radio 3 presenter Clemency Burton-Hill.Have you ever heard a piece of music so beautiful it stops you in your tracks? Or wanted to discover more about classical music but had no idea where to begin? Year of Wonder is a unique celebration of classical music by an author who wants to share its diverse wonders with others and to encourage a love for this genre in all readers, whether complete novices or lifetime enthusiasts. Clemency chooses one piece of music for each day of the year, with a short explanation about the composer to put it into context, and brings the music alive in a modern and playful way, while also extolling the positive mindfulness element of giving yourself some time every day to listen to something uplifting or beautiful. Thoughtfully curated and expertly researched, this is a book of classical music to keep you company: whoever you are, wherever you're from.'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-HillPlaylists are available on most streaming music platforms including Apple Music.
(source: Nielsen Book Data)

• Let me concentrate! : repetitition
• Past present future : slowness
• Draft me! : speed
• What if we both should want more? : transmission
• We don't need no music : quiet/silence/intimacy
• Church bell tone : stubbornness and the single note
• Elevation : virtuosity
• Blue rules : sadness
• Getting clear : audio space
• Purple, green, turquoise : endless inventory
• I forgot more than you'll ever know : wasteful authority
• Granite and fog : density
• As it first looks : improvisation
• Eyeball to eyeball : closeness
• Just a little bit : loudness
• R.S.V.P. : discrepancy
• I still believe I hear : memory and historical truth
• On the waves : linking
• Mi gente : community and exclusivity
• Slowly fading out of sight : the perfect moment.

What is music in the age of the cloud? Today, we can listen to nearly anything, at any time. It is possible to flit instantly across genres and generations, from 1980s Detroit techno to 1890s Viennese neo-romanticism. This new age of listening brings with it astonishing new possibilities--as well as dangers. --Publisher.
What does it mean to listen in the digital era? Today, new technologies make it possible to roam instantly and experimentally across musical languages and generations, from Detroit techno to jam bands to baroque opera--or to dive deeper into the set of tastes that we already have. Either way, we can listen to nearly anything, at any time. The possibilities in this new age of listening overturn old assumptions about what it means to properly appreciate music--to be an "educated" listener. Here, veteran music critic Ben Ratliff reimagines the very idea of music appreciation for our times. As familiar subdivisions like "rock" and "jazz" matter less and less and music's accessible past becomes longer and broader, listeners can put aside the intentions of composers and musicians and engage music afresh, on their own terms. Ratliff isolates signal musical traits--such as repetition, speed, and virtuosity--and traces them across wildly diverse recordings to reveal unexpected connections. When we listen for slowness, for instance, we may detect surprising affinities between the drone metal of Sunn O))), the mixtape manipulations of DJ Screw, Sarah Vaughan singing "Lover Man," and the final works of Shostakovich. And if we listen for closeness, we might notice how the tight harmonies of bluegrass vocals illuminate the virtuosic synchrony of John Coltrane's quartet. Ratliff also goes in search of "the perfect moment"; considers what it means to hear emotion; and examines the meaning of certain common behaviors, such as the impulse to document and possess the entire performance history of the Grateful Dead. Encompassing the sounds of five continents and several centuries, Ratliff's book is an artful work of criticism and a lesson in open-mindedness. It is a definitive field guide to our radically altered musical habitat.--Adapted from dust jacket.

• Introduction
• Part 1: The Foundations of Music 1. What Is Music? 2. What Is Music Made Of? 3. Where Does Music Come From? The Origins of Music 4. What Is Music For? The Functions of Music
• Part 2: Music and Identity 5. Music and Individual Identity 6. Music and Group Identity 7. Music and Hybrid Identity 8. Music and Oppositional Identity
• Part 3: Music and the Sacred 9. Sacred Chant and Sacred Song 10. Sacred Embodiment and Sacred Enactment 11. Sacred Space and Sacred Time
• Part 4: Music and Social Life 12. Bardic Traditions 13. Musical Theater and Film 14. Music in Public Spaces.
• (source: Nielsen Book Data)

What in the World is Music? is an undergraduate, interactive e-textbook that incorporates more than 300 video and audio links to music from around the world. The text investigates the nature and meaning of music as a universal human practice, while providing students with strong points of connection to the ways it affects their own lives. Merging the study of Western music tradition along with the ethnomusicological approach to non-Western music, and with a range of examples from both, What in the World is Music? explores how humans organize and experience sound, and the contexts in which music takes place. What in the World is Music? is set within a thematic framework that highlights similarities across cultures and examines shared musical practices. * Unit 1: The Foundations of Music presents an inquiry-guided approach to understanding and engaging with music based on four fundamental questions: What is music? (Definitions), What is it made of? (Elements), Where does it come from? (Origins), and What is it for? (Functions). * Unit 2: Music and Identity examines how music operates in the shaping, negotiating, and projecting of human identity. The discussion is organized around four broad conceptual frames: the individual, the group, hybridity, and conflict. * Unit 3: Music and the Sacred considers how music is used in religious practices throughout the world: for chanting sacred texts and singing devotional verses, for inspiring religious experience such as ecstasy and trance, and for marking and shaping ritual space and time. * Unit 4: Music and Social Life explores the uses of music in storytelling, theater, and film; delves into the contributions of sound recording and digital technologies; and looks at the many ways music enhances nightlife, public ceremonies, and festivals. This Routledge interactive textbook package, 978 1138 79025-4, includes a printed book to supplement the online e-text, which is also available as a stand-alone under ISBN 978 1315 76430-6.
(source: Nielsen Book Data)

• The orchestra and how it works
• The maestro and music director
• The opera and diva
• The composer
• The performers
• The instruments of the orchestra
• The music
• This and that
• Sources of quotes.

This book answers questions from real classical music lovers about things they have always wondered but didn't know whom to ask. The information in this book is not readily found in music history or appreciation books, nor can it be found on line. Questions explored are: Do string players in orchestras get paid more because they play more than other instruments? Why does an orchestra tune to an oboe when there are electronic tuners? How does a composer decide what key to compose in? Why is the 1812 Overture played on the 4th of July? And many, many more! The answers represent behind the scenes, real world, insights into how classical musicians view and discuss these questions. There is even some insight into the jokes classical musicians find funny. This book is intended for the person who loves listening to classical music, either live or recorded and will provide hours of enjoyment as the reader invariably shakes his or her head and asks in wonderment "Who knew!".
(source: Nielsen Book Data)

This book answers unusual questions from classical music lovers about things they have always wondered but didn't know who to ask. The answers come from professional musicians and give a glimpse into how musicians think and talk about their profession. Readers will find themselves asking ""Who knew!""

• What is your taste in music?
• Lyrics, and meaning in music
• Music and your emotions
• Repetition, surprises, and goosebumps
• Music as medicine
• Does music make you more intelligent?
• From psycho to star wars: the power of movie music
• Are you musically talented?
• A few notes about notes
• What's in a tune?
• Untangling the melody from the accompaniment
• Don't believe everything you hear
• Dissonance
• How musicians push our emotional buttons
• Why you love music
• Fiddly details A : timbre
• B : post-skip reversal
• C : harmonizing a tune
• D : how many tunes are hidden in the harmony?
• E : scales and keys.

"Why does music affect us so profoundly? The songs we love do far more than bring back happy memories. They impact the way we think, talk, feel, behave, and even spend money. With his conversational style, humor, and endless knowledge, scientist and musician John Powell explores the fascinating science of music, showing that shoppers spend more money in stores that play classical music and that music can even change the flavor of wine! With chapters on music and our emotions (why do we listen to sad music?), music as medicine (how does music reduce pain at the dentist?), music and intelligence (how does the 'Mozart effect' really work?), and much more, WHY YOU LOVE MUSIC provides a fascinating study of how our brains respond to the joys of music,"--NoveList.

• Prelude Editor's Preface Lesson One: Linear Progressions and Neighbor Notes Lesson Two: J.S. Bach, Menuet in C minor from French Suite No. 2 and Chopin, Etude, Op. 10, No. 12 Lesson Three: Chopin, G#-minor and E-major Preludes from Op. 28 Lesson Four: Schubert, Sonata in Bb major, Scherzo Lesson Five: Handel, Suite No. 8 for Harpsichord, Courante Lesson Six: J.S. Bach, Gavotte en Rondeaux from Violin Partita No. 3 in E major Lesson Seven: Mozart, Sonata for Violin and Piano, K. 481, Adagio Lesson Eight: Beethoven, String Quartet, Op. 18, No. 6, first movement Lesson Nin: Beethoven, String Quartet, Op. 18, No. 6, fourth movement ("La Malinconia") Lesson Ten: Rhythm, Hypermeter, and Phrase Lesson Eleven: Haydn, Symphony No. 99, Adagio Lesson Twelve: Beethoven, Piano Sonata, Op. 53 ("Waldstein"), first movement Postlude. Q and A Glossary Works Cited Index.
• (source: Nielsen Book Data)

Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.
(source: Nielsen Book Data)

The Enjoyment of Music continues to teach students how to listen and connect to any kind of music. After more than fifty years of successfully preparing students for a lifetime of informed listening, the Twelfth Edition raises the bar with an expanded repertory of appealing music, an exciting new listening and assessment pedagogy, and the richest and most user-friendly online resources available to students today.
(source: Nielsen Book Data)

• Part I: Elements 1 Sound: Pitch, Dynamics, and Tone Color 2 Performing Media: Voices and Instruments 3 Rhythm 4 Music Notation 5 Melody 6 Harmony 7 Key 8 Musical Texture 9 Musical Form 10 Performance 11 Musical Style Part II: The Middle Ages 1 Music an the Middle Ages (450-1450) 2 Gregorian Chant 3 Secular Music in the Middle Ages 4 The Development of Polyphony: Organum 5 Fourteenth-Century Music: The "New Art" in Italy and France Part III: The Renaissance 1 Music in the Renaissance (1450-1600) 2 Sacred Music in the Renaissance 3 Secular Music in the Renaissance 4 The Venetian School: From Renaissance to Baroque Part IV: The Baroque Period 1 Baroque Music (1600-1750) 2 Music in Baroque Society 3 The Concerto Grosso and Ritornello Form 4 The Fugue 5 The Elements of Opera 6 Opera in the Baroque Era 7 Claudio Monteverdi 8 Henry Purcell 9 The Baroque Sonata 10 Arcangelo Corelli 11 Antonio Vivaldi 12 Johann Sebastion Bach 13 The Baroque Suite 14 The Chorale and Church Cantata 15 The Oratorio 16 George Frideric Handel Part V: The Classical Period 1 The Classical Style (1750-1820) 2 Composer, Patron, and Public in the Classical Period 3 Sonata Form 4 Theme and Variations 5 Minuet and Trio 6 Rondo 7 The Classical Symphony 8 The Classical Concerto 9 Classical Chamber Music 10 Joseph Haydn 11 Wolfgang Amadeus Mozart 12 Ludwig van Beethoven Part VI: The Romantic Period 1 Romanticism in Music (1820-1900) 2 Romantic Composers and Their Public 3 The Art Song 4 Franz Schubert 5 Robert Schumann 6 Clara Wieck Schumann 7 Frederic Chopin 8 Franz Liszt 9 Felix Mendelssohn 10 Program Music 11 Hector Berlioz 12 Nationalism in Nineteenth-Century Music 13 Peter Ilyich Tchaikovsky 14 Bedrich Smetana 15 Antonin Dvorak 16 Johannes Brahms 17 Giuseppe Verdi 18 Giacomo Puccini 19 Richard Wagner 20 Gustav Mahler Part VII: The Twentieth Century and Beyond 1 Musical Styles: 1900-1945 2 Music and Musicians in Society since 1900 3 Impressionism and Symbolism 4 Claude Debussy 5 Maurice Ravel 6 Neoclassicism 7 Igor Stravinsky 8 Expressionism 9 Arnold Schoenberg 10 Alban Berg 11 Anton Webern 12 Bela Bartok 13 Dmitiri Shostakovich 14 Music in America 15 Amy Beach 16 Charles Ives 17 George Gershwin 18 William Grant Still 19 Aaron Copland 20 Alberto Ginastera 21 Musical Styles Since 1945 22 Music Since
• 1945: Eight Representative Pieces Part VIII: Jazz 1 Jazz Styles: 1900-1950 2 Ragtime 3 Blues 4 New Orleans Style 5 Swing 6 Bebop 7 Jazz Style Since 1950 Part IX: Music for Stage and Screen 1 Musical Theater 2 Leonard Bernstein 3 Music in Film Part X: Rock 1 Rock Styles 2 Rock in American Society 3 The Beatles Part XI: Nonwestern Music 1 Music in Nonwestern Cultures 2 Music in Sub-Saharan Africa 3 Classical Music of India 4 Koto Music of Japan Appendixes 1 Glossary 2 Tone Color and Harmonic Series 3 Bibliography and Selected Reading Acknowledgments Photo Credits Index.
• (source: Nielsen Book Data)

McGraw-Hill is revolutionizing the Music Appreciation course by introducing its first personalized digital learning experience with Roger Kamien's Music: An Appreciation. Using this market-leading instrument that brings great music to the course in more ways than ever before, students are now transformed into active participants in the Music Appreciation space. The result is active listening, active reading, and active learning.
(source: Nielsen Book Data)

Alfred Brendel, one of the greatest pianists of our time, is renowned for his masterly interpretations of Haydn, Mozart, Beethoven, Schubert and Liszt, and has been credited with rescuing from oblivion the piano music of Schubert's last years. Far from having merely one string to his bow, however, Brendel is also one of the world's most remarkable writers on music - possessed of the rare ability to bring the clarity and originality of expression that characterised his performances to the printed page.The definitive collection of his award-winning writings and essays, Music, Sense and Nonsense combines all of his work originally published in his two classic books, Musical Thoughts and Afterthoughts and Music Sounded Out, along with significant new material on a lifetime of recording, performance habits and reflections on life and art.As well as providing stimulating reading, this new edition provides a unique insight into the exceptional mind of one of the outstanding musicians of the twentieth and twenty-first centuries.Whether discussing Bach or Beethoven, Schubert or Schoenberg, Brendel's reflections are illuminating and challenging, a treasure for the specialist and music lover alike.
(source: Nielsen Book Data)

• Contents: Preface. Part I Facets of a Theoretical Question: Aesthetic experience under the aegis of technology, Gianmario Borio
• Ideological, social and perceptual factors in live and recorded music, Eric Clarke
• On the evolution of private record collections: a short story, Esteban Buch
• Music and technical reproducibility: a paradigm shift, Alessandro Arbo
• Algorithmic and nostalgic listening: post-subjective implications of computational and empirical research, Sebastian Klotz
• Listening to histories of listening: collaborative experiments in acoustemology with Nii Otoo Annan, Steven Feld. Part II Remediations: Remediation or opera on screen? Some misunderstandings regarding recent research, Michele Girardi
• Between mediatization and live performance: the music for Giorgio Strehler's The Tempest (1978), Emilio Sala
• The 'remediated' Rite of Spring, Gianfranco Vinay. Part III Listening with Images: Listening to images: a historical overview of theoretical reflection, Roberto Calabretto
• Seeing sounds, hearing images: listening outside the modernist box, Nicholas Cook
• The transformation of musical listening: the case of electroacoustic music, Martin Laliberte. Part IV Recordings and the New Aura: Neo-auratic encoding: phenomenological framework and operational patterns, Vincenzo Caporaletti
• 'If a song could get me you': analysis and the (pop) listener's perspective, Dietrich Helms
• The persistence of analogue, Mark Katz. Part V Composing and Performing with Electronic Means: Semiconducting: making music after the transistor, Nicolas Collins
• 'Live is dead?': some remarks about live electronics practice and listening, Angela Ida De Benedictis
• Sonic imprints: instrumental resynthesis in contemporary composition, Nicolas Donin. Part VI Audiovisual Documentation in Ethnomusicological Research: New trends in the use of audiovisual (and audio) technology in contemporary ethnomusicology, Giovanni Giuriati
• Recording out-takes: what can be discovered in the 'historical' recordings of traditional music, Maurizio Agamennone
• Audiovisual ethnography: new paths for research and representation in ethnomusicology, Nicola Scaldaferri. Index.
• (source: Nielsen Book Data)

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention musica (TM)s current status as a commodity and popular musica (TM)s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
(source: Nielsen Book Data)

• Part I Listening to Music
• Sound : the materials of music
• Setting : the study of local musics
• Significance : music's meaning in everyday life
• Part II Transmitting music
• Music and migration
• Music and memory
• Music, mobility, and the global marketplace
• Part III Understanding Music
• Music and dance
• Music and ritual
• Music and politics
• Music and identity.

• Learning to Listen Actively
• Medieval, Renaissance, and Baroque Music
• Classical and Romantic Music
• The Twentieth Century and Beyond : Modernism and Jazz
• Form
• Timbre : The Character of a Sound
• Rhythm and Meter
• Melody
• Harmony and Texture
• Music and Text
• Music and Drama
• Instrumental Music and Meaning.

Classic FM's Big Book of Classical Music is a fully illustrated book detailing each day of the year in classical music - the perfect coffee table companion for any classical music lover. Entries contain original illustrations, landmark events taking place on that day, profiles of the great composers, recommended listening, and much more. From the birth of Chopin on 22nd February, to the premiere of the Eroica Symphony on April 7th and the death of Mozart on December 5th, every day reveals a fascinating new musical milestone - the perfect excuse to sit back, relax, and listen to your favourite classical music. Each beautifully-illustrated entry pulls together facts, figures and noteworthy events - including biographies of the essential composers, suggesting listening for each day of the year, musical quotations and a host of other material. The perfect Christmas gift for classical music aficionados and a highly accessible introduction for anyone new to the genre, this beautiful book is an indispensible guide to take you through a year in classical music.
(source: Nielsen Book Data)

• Introduction: Historiographies of Allusion
• Part I: Occasional Lullabies
• Chapter 1: Old Melodies, New Identities
• Chapter 2: Lessons in Politics and Innuendo
• Part II: Themes and Variations
• Chapter 3: Emulation as Empathy
• Chapter 4: Consequences of Criticism
• Part III: Clara at the Keyboard
• Chapter 5: Family Resemblances
• Chapter 6: Shared Nostalgia
• Chapter 7: Grief and Transformation
• Part IV: Rhetorics of Closure
• Chapter 8: Forests of the Heart
• Chapter 9: Counterpoint and Catharsis
• Chapter 10: Concealment as Self-Restraint
• Bibliography.
• (source: Nielsen Book Data)

Brahms Among Friends identifies patterns of listening, performance, and composition among close friends of Johannes Brahms and explores how those patterns informed the creation and reception of his music in the intimate genres of song, sonata, trio, and piano miniature. Among the tangled threads of counterpoint and circumstance that bound Brahms to his acquaintances was the technique of allusive musical borrowing, whereby a brief passage from a familiar work was drawn into the fabric of a new composition. For the specific listeners whose habits of mind and musicianship he knew best, allusive borrowings could become rhetorically charged gestures, persuasively revising the meanings his music conveyed and the interpretive strategies it invited. Primary documents, original manuscripts, music-analytic comparison, and kinesthetic parameters experienced in the act of performance all work in tandem to support ten case studies in the interplay between Brahms's small-scale works and the women and men who encountered them before publication. Central characters include violinist Joseph Joachim, singers Amalie Joachim, Julius Stockhausen, and Agathe von Siebold, composers Heinrich and Elisabeth von Herzogenberg, and pianists Emma Engelmann and Clara Schumann. For these musicians and for the composer himself, Brahms's allusive music served a broad variety of emotional needs and interpersonal ends. Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: Yet across diverse repertoire and interdisciplinary correlates ranging from ethnography to psychoanalysis, each case study furthers a single, underlying aim: to reconstruct the mutually dependent perspectives of historically situated agents and restore forgotten features of their communicative landscapes as bases for both musical and historical scrutiny.
(source: Nielsen Book Data)

• Authorship. A thousand wrought like one ; Metal machine music
• Authenticity. An introduction to authenticity ; Do you hear what I hear? ; Live to tape, and back again ; Dots on a page
• Art and commerce. Digital witness
• Afterword: The benefits of aesthetic confusion.

An inquiry into music as a personal and cultural experience offers insight into how it is composed, often wrongfully criticized, and informed by neuroscientific, psychological, technological, and other factors.