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2 v. (xxii, 1867 p.) ; 28 cm.
  • PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. Euripides, ORESTES, "Stasimon Chorus" (fragment). Seikilos, Skolion (Epitaph), AS LONG AS YOU LIVE. 3. Music in the Monastery and Convent. Chants of Vespers, TECUM PRINCIPIUM, DIXIT DOMINUS, JESU, REDEMPTOR OMNIUM. Chants of the Mass for Christmas Day, PUER NATUS, KYRIE, GLORIA, VIDERUNT OMNES, ALLELUIA. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. Tuotilo of St. Gall, Trope, HODIE CANTANDUS EST NOBIS. Tuotilo of St. Gall, Trope, OMNIPOTENS GENITOR. Anonymous, DIES IRAE. Hildegard of Bingen, O RUBOR SANGUINIS. Hildegard of Bingen, ORDO VIRTUTUM (excerpts). 6. Troubadours and Trouveres. Beatriz de Dia, A CHANTAR M'ER. Bernart de Ventadorn, CAN VEI LA LAUZETA. Richard the Lionheart, JA NUNS HONS PRIS NE DIRA. 7. Early Polyphony. Anonymous, VIDERUNT HEMANUEL. Albertus of Paris, CONGAUDEANT CATHOLICI. 8. Music in Medieval Paris: Polyphony at Notre Dame. Leoninus, VIDERUNT OMNES. Perotinus, VIDERUNT OMNES. 9. Music in the Cathedral Close and University: Conductus and Motet. Anonymous, ORIENTIS PARTIBUS. Philip the Chancellor, DIC, CHRISTI VERITAS. Anonymous motet, EL MOIS D'AVRIL/ O QUAM SANCTA /ET GAUDEBIT. Anonymous MOTET, ON PAROLE DE BATRE/A PARIS/FRESE NOUVELE. 11. Music at the Court of the French Kings. de Bus, ROMAN DE FAUVEL. Anonymous, QUARE FREMUERUNT GENTES. de Vitry, GARRIT GALLUS/IN NOVA FERT/NEUMA. Anonymous, LA QUINTE ESTAMPIE REAL. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. Machaut, HOQUETUS DAVID. Machaut, JE PUIS TROP BIEN. Machaut, DOUCE DAME JOLIE. Machaut, KYRIE of the MESSE DE NOSTRE DAME. 13. Avignon, Symbolic Scores, and the ARS SUBTILIOR. Cordier, TOUT PAR COMPAS SUY COMPOSES. Caserta, PAR LES BONS GEDEONS. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1450. Bologna, NON AL SUO AMANTE. Landini, OR SU, GENTILI SPIRTI. 15. Music at the Cathedral of Florence. Dufay, NUPER ROSARUM FLORES. 16. Music in England. Anonymous, SUMER IS ICUMEN IN. Anonymous, AGINCOURT CAROL. Dunstaple, QUAM PULCHRA ES. 17. Music at the Court of Burgundy. Binchois, DUEIL ANGOISSEUS. Dufay, LAMENTATIO SANCTAE MATRIS ECCLESIAE CONSTANTINOPOLITANAE. Dufay, KYRIE of the MISSA L'HOMME ARME. 18. Music at the French Royal Court. Ockeghem, PRENEZ SUR MOI. Ockeghem, KYRIE of the MISSA PROLATIONUM. Josquin, GUILLAUME SE VA CHAUFER. Basiron, SALVE REGINA. Busnoys, JE NE PUIS VIVRE AINSY. 19. Music in the Low Countries. Obrecht, CREDO of the MISSA SUB TUUM PRESIDIUM. Isaac, LA SPAGNA. PART III: THE LATE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. de' Medici, SIAN GALANTI DI VALENZA. Savonarola, GIESU, SOMMO CONFORTO. Josquin, EL GRILLO E BUON CANTORE. Arcadelt, IL BIANCO E DOLCE CIGNO. Vecchi, IL BIANCO ET DOLCE CIGNO. 21. Josquin des Prez and Music in Ferrara. Josquin, SANCTUS of the MISSA HERCULES DUX FERRARIE. Josquin, MISERERE MEI, DEUS. 22. Music in Renaissance Paris. Sermisy, TANT QUE VIVRAY (four arrangements). Anonymous, Pavane and Galliard. 23. Renaissance Instruments and Instrumental Music. Fuenllana, FANTASIA. Merulo, CANZONA. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. Isaac, INNSBRUCK, ICH MUSS DICH LASSEN. Hofhaimer, SALVE REGINA for Organ. Luther, EIN FESTE BURG. Walter/Luther, EIN FESTE BURG, 4-part setting. Lassus, DE PROFUNDIS CLAMAVI. 25. Rome and the Music of the Counter-Reformation. Palestrina, SANCTUS of the MISSA AETERNA CHRISTI MUNERA. Palestrina, TU ES PETRUS. Palestrina, KYRIE of the MISSA TU ES PETRUS. 26. Music in Elizabethan England, Part I: Early Vocal Music. Henry VIII, PASTYME WITH GOOD COMPANYE. Tallis, Psalm 2. Byrd, O LORD, MAKE THY SERVANT, ELIZABETH. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. Morley, GOE FROM MY WINDOW. Weelkes, AS VESTA WAS FROM LATMOS HILL DESCENDING. Dowland, FLOW MY TEARS. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. Gesualdo, MORO, LASSO. Monteverdi, CRUDA AMARILLI. PART IV: BAROQUE MUSIC. 30. The Birth of Opera: Florence, Mantua, and Venice. Peri, EURIDICE, "Funeste piagge." Caccini, LE NUOVE MUSICHE, FILLI, MIRANDO IL CIELO. Monteverdi, ORFEO, "Toccata, " "A l'amara novella, " "Tu se' morta, " "Possente spirto." Monteverdi, L'INCORONAZIONE DI POPPEA, "Pur ti miro." 31. The Concerted Style in Venice and Dresden. Gabrieli, IN ECCLESIIS. Monteverdi, HOR CHE 'L CIEL ET LA TERRA. Strozzi, L'AMANTE SECRETO: VOGLIO MORIRE. Schutz, SAUL, SAUL, WAS VERFOLGST DU MICH? 32. Religious Music in Baroque Rome. Allegri, MISERERE MEI, DEUS. Anonymous, KYRIE of the MISSA SALISBURGENSIS. Frescobaldi, FIORI MUSICALI, "Toccata, " KYRIE, "Ricercar." Carissimi, JEPHTE, "Plorate, filii Israel." Scarlatti, Cantata OH DI BETLEMME, "Oh di Betlemme, " "Dal bel seno d'una stella." 33. Instrumental Music in Italy. Rossi, SONATA SOPRA L'ARIA DI RUGGIERO. Corelli, Opus 4, No. 1, PRELUDIO, CORRENTE, ADAGIO, ALLEMANDA. Torelli, Trumpet Sinfonia in D major. Vivaldi, L'ESTRO ARMONICO, 1st mvt. 34. Instrumental Music in Germany and Austria. Froberger, Suite No. 12, ALLEMANDE, COURANTE, SARABAND, GIGUE. Biber, "Mystery" Sonatas, THE RESURRECTION. Buxtehude, WIE SCHON LEUCTET DER MORGENSTERN. Pachelbel, WIE SCHON LEUCTET DER MORGENSTERN. Pachelbel, Canon in D major. 35. Music in Paris and at the Court of Versailles, Part I: Vocal Music. Lully, ARMIDE, Overture, "Enfin, il est en ma puissance." Jacquet de La Guerre, JEPHTE, "Jephte revient, " "La Fille de Jephte." 36. Music in Paris and at the Court of Versailles, Part II: Instrumental Music. Gaultier, LA RHETORIQUE DES DIEUX, TOMBEAU DE MADAMOISELLE GAULTIER. Couperin, PIECES DE CLAVECIN, LA FAVORITE, L'ARLEQUINE. 37. Music in London, Part I: Henry Purcell. Purcell, DIDO AND AENEAS, "Thy hand Belinda, " "When I am Laid in Earth." Purcell, COME, YE SONS OF ART, "Come, ye sons of art, " "Sound the trumpet." Purcell, Funeral Music for Queen Mary, March, Canzona. 38. Music in London, Part II: George Frideric Handel. Handel, WATER MUSIC, Minuet and Trio, Hornpipe. Handel, GIULIO CESARE, "V'adoro, pupille." Handel, MESSIAH, "He shall feed his flock, " "Hallelujah" chorus. 39. Johann Sebastian Bach: Instrumental Music in Weimar and Cothen. Bach, ORGELBUCHLEIN, "In dulci jubilo, " "Durch Adams Fall." Bach, THE WELL-TEMPERED CLAVIER, Prelude and Fugue in C minor. Bach, BRANDENBURG CONCERTO No. 5, 1st mvt. 40. Johann Sebastian Bach: Vocal Music in Leipzig. Bach, WACHET AUF (complete cantata). Bach, B-Minor Mass, CREDO, "Crucifixus, " " Et resurrexit.".
  • (source: Nielsen Book Data)9780495029991 20160528
  • PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERA. 41. Music in the Age of Enlightenment: Opera. Hasse, CLEOFIDE, "Digli ch'io son fedele." Gay, THE BEGGAR'S OPERA, dialogue and songs from Act I. Pergolesi, LA SERVA PADRONA, "Lo conosco." Rousseau, LE DEVIN DU VILLAGE, "A jamais Colin." Gluck, ORFEO ED EURIDICE, "Deh placatevi, " "Misero giovane, " "Ahime! Dove trascorsi?" "Che faro senza Euridice." 42. Music in the Age of Enlightenment: Orchestral Music. Sammartini, Symphony No. 3, 1st mvt. Stamitz, Symphony in E-flat major, 1st mvt. 43. Music in the Age of Enlightenment: Keyboard Music. Scarlatti, ESSERCIZI, Sonata No. 26. C. P. E. Bach, FANTASIA in C minor. J. C. Bach, Piano Sonata, 1st mvt. 45. Joseph Haydn: Instrumental Music. Haydn, Symphony No. 6, 1st mvt. Haydn, Op. 33, No. 3, "The Bird" Quartet, 1st mvt. 46. Joseph Haydn: Late Symphonies and Vocal Music. Haydn, Symphony No. 94, The "Surprise, " 2nd mvt. Haydn, Symphony No. 99, 1st mvt. Haydn, THE CREATION, "The Heavens Are Telling." 47. Wolfgang Amadeus Mozart: Instrumental Music. Mozart, Symphony No. 40, 1st mvt. Mozart, Symphony No. 41, "Jupiter, " 4th mvt. Mozart, Piano Concerto in A major, 1st mvt. 48. Wolfgang Amadeus Mozart: Vocal Music. Mozart, LE NOZZE DI FIGARO, "Se vuol ballare, " "Porgi, amor, " "Voi, che sapete, " "Vostre dunque." Mozart, Requiem Mass, "Confutatis, " "Lacrimosa." 49. The Early Music of Beethoven. Beethoven, Piano Sonata in C minor ("Pathetique"), 1st mvt. Beethoven, Piano Concerto No. 1, 3rd mvt. 50. Beethoven's Middle Period: 1802-1814. Beethoven, Symphony No. 3 (EROICA), 2nd mvt. 51. After the Congress of Vienna: Beethoven's Late Music. Beethoven, String Quartet in B-flat major, 5th mvt. Beethoven, MISSA SOLEMNIS, KYRIE. PART VI: ROMANTICISM. 52. Franz Schubert. Schubert, ERLKONIG. Schubert, GANYMED. Schubert, NAHE DES GELIEBTEN. 53. Music in Paris Under Louis Philippe: Berlioz and Chopin. Berlioz, SYMPHONIE FANTASTIQUE, 4th mvt. Berlioz, "Absence" from LES NUITS D'ETE. Chopin, Nocturne in D-flat major. 54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns. Mendelssohn, Piano Trio in D minor, 1st mvt. Robert Schumann, Symphony No. 1, 2nd mvt. Clara Schumann, LIEBST DU UM SCHONHEIT. 55. German Opera in the Nineteenth Century: Weber and Wagner. Weber, DER FREISCHUTZ, Wolf's Glen Scene. Wagner, DAS RHEINGOLD, Entrance of the Gods into Valhalla. 56. Opera in Italy: Rossini and Verdi. Rossini, THE BARBER OF SEVILLE, Act 1, No. 1. Verdi, OTELLO, Act IV, Sc. 3. 57. Nationalism and Virtuosity: Franz Liszt. Liszt, HUNGARIAN RHAPSODY No. 15 (RAKOCZY MARCH). 58. Vienna in the Late Nineteenth Century: Brahms and Bruckner. Brahms, Symphony No. 3, 1st mvt. Brahms, FELDEINSAMKEIT. Bruckner, CHRISTUS FACTUS EST. 59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky. Mussorgsky, SUNLESS, "Within Four Walls." Tchaikovsky, NUTCRACKER, Act 1, No. 8. 60. Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler. Gustav Mahler, Symphony No. 5, 4th mvt. Gustav Mahler, "Um Mittnernacht." Alma Mahler, "Die stille Stadt." 61. England at the End of the Romantic Period: Elgar and Vaughan Williams. Elgar, ENIGMA Variations, theme and 9th variation ("Nimrod"). 62. Opera in Milan After Verdi: Puccini, Toscanini, and Verismo. Puccini, MADAMA BUTTERFLY, "Dovunque al mondo." 63. Paris of the Belle Epoque: Debussy, Faure, and Lili Boulanger. Debussy, FETES GALANTES I, "En sourdine." Debussy, IMAGES I, "Reflets dans l'eau." Debussy, NOCTURNES, "Nuages." Faure, Dans la foret de septembre. Boulanger, CLAIRIERES DANS LE CIEL, "Elle est gravement gaie." PART VII: THE EARLY TWENTIETH CENTURY. 64. Richard Strauss in Berlin. Strauss, SALOME, concluding scene. 65. Music in Russia During the Silver Age: Igor Stravinsky. Stravinsky, THE RITE OF SPRING, "Procession of the Sage, " "The Sage, " "Dance of the Earth." 66. Atonality: Schoenberg and Scriabin. Schoenberg, Piano Piece, Op. 11, No. 1. Schoenberg, PIERROT LUNAIRE, "Nacht." Scriabin, Piano Prelude, Op. 74, No. 5. 67. French Music at the Time of World War I: Ravel and Satie. Ravel, LE TOMBEAU DE COUPERIN, "Rigaudon." Satie, Sarabande No. 2. 68. Music in Paris After World War I: Stravinsky and the Six. Stravinsky, Octet, 1st mvt. Milhaud, SAUDADES DE BRAZIL, "Botofago." 69. Vienna in the Aftermath of War: Twelve-Tone Methods. Schoenberg, String Quartet No. 4, 1st mvt. Webern, Symphony, 2nd mvt. 70. Musical Theater in Germany in the 1920s: Berg and Weill. Berg, WOZZECK, Act 3, Sc. 2. Weill, THE THREEPENNY OPERA, "Ballad of Mack the Knife." 71. Bela Bartok and Hungarian Folk Music. Bartok, EIGHT HUNGARIAN FOLK SONGS, "Fekete fod." Bartok, Concerto for Orchestra, 1st mvt. 72. Early Jazz. Joplin, "Maple Leaf Rag." 73. Paul Hindemith and Music in Nazi Germany. Hindemith, MATHIS DER MALER, Sc. 6, Entrance 3. 74. Music in Soviet Russia: Prokofiev and Shostakovich. Prokofiev, Piano Sonata No. 7, 3rd mvt. Shostakovich, Piano Concerto No. 1, 1st mvt. 75. Self-Reliance in American Music: Ives, Seeger, Nancarrow. Ives, "Feldeinsamkeit." Ives, "Charlie Rutlage." Ives, THE UNANSWERED QUESTION. Seeger, String Quartet, 2nd mvt. 76. American Composers Return from Europe: Copland and Barber. Copland, Piano Variations. Copland, APPALACIAN SPRING, "Variations on a Shaker Hymn." Barber, HERMIT SONGS, "Sea-Snatch." 77. Tin Pan Alley and the Broadway Musical. Gershwin, "The Man I Love." Rodgers and Hammerstein, OKLAHOMA! "I Cain't Say No." Bernstein, WEST SIDE STORY, "Cool." PART VIII: CONTEMPORARY MUSIC. 78. Reflections on War: Britten, Penderecki, and Others. Britten, WAR REQUIEM, Agnus Dei. Penderecki, THRENODY FOR THE VICTIMS OF HIROSHIMA. 79. Twelve-Tone Music and Serialism After World War II. Babbitt, Composition for Piano No. 1. Stravinsky, AGON, Bransle Double. Boulez, LE MARTEAU SANS MAITRE, "L'artisanat furieux." 80. Alternatives to Serialism: Chance, Electronics, Textures. Cage, MUSIC OF CHANGES, Part 1. Varese, POEME ELECTRONIQUE. Messiaen, "Mode de valeurs et d'intensites." 82. Music in the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations. Berio, CIRCLES, "Stinging Gold Swarms." Crumb, ANCIENT VOICES OF CHILDREN, "'De donde vienes?" Carter, String Quartet No. 2, Introduction and 1st mvt. Reich, CLAPPING MUSIC. 83. Returning to the Known: Music of the Recent Past. Ligeti, HUNGARIAN ROCK. Adams, NIXON IN CHINA, "News." Tower, FANFARE FOR THE UNCOMMON WOMAN. Part, BERLIN MASS, CREDO.
  • (source: Nielsen Book Data)9780495030003 20160528
  • PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. Euripides, ORESTES, "Stasimon Chorus" (fragment). Seikilos, Skolion (Epitaph), AS LONG AS YOU LIVE. 3. Music in the Monastery and Convent. Chants of Vespers, TECUM PRINCIPIUM, DIXIT DOMINUS, JESU, REDEMPTOR OMNIUM. Chants of the Mass for Christmas Day, PUER NATUS, KYRIE, GLORIA, VIDERUNT OMNES, ALLELUIA. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. Tuotilo of St. Gall, Trope, HODIE CANTANDUS EST NOBIS. Tuotilo of St. Gall, Trope, OMNIPOTENS GENITOR. Anonymous, DIES IRAE. Hildegard of Bingen, O RUBOR SANGUINIS. Hildegard of Bingen, ORDO VIRTUTUM (excerpts). 6. Troubadours and Trouveres. Beatriz de Dia, A CHANTAR M'ER. Bernart de Ventadorn, CAN VEI LA LAUZETA. Richard the Lionheart, JA NUNS HONS PRIS NE DIRA. 7. Early Polyphony. Anonymous, VIDERUNT HEMANUEL. Albertus of Paris, CONGAUDEANT CATHOLICI. 8. Music in Medieval Paris: Polyphony at Notre Dame. Leoninus, VIDERUNT OMNES. Perotinus, VIDERUNT OMNES. 9. Music in the Cathedral Close and University: Conductus and Motet. Anonymous, ORIENTIS PARTIBUS. Philip the Chancellor, DIC, CHRISTI VERITAS. Anonymous motet, EL MOIS D'AVRIL/ O QUAM SANCTA /ET GAUDEBIT. Anonymous MOTET, ON PAROLE DE BATRE/A PARIS/FRESE NOUVELE. 11. Music at the Court of the French Kings. de Bus, ROMAN DE FAUVEL. Anonymous, QUARE FREMUERUNT GENTES. de Vitry, GARRIT GALLUS/IN NOVA FERT/NEUMA. Anonymous, LA QUINTE ESTAMPIE REAL. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. Machaut, HOQUETUS DAVID. Machaut, JE PUIS TROP BIEN. Machaut, DOUCE DAME JOLIE. Machaut, KYRIE of the MESSE DE NOSTRE DAME. 13. Avignon, Symbolic Scores, and the ARS SUBTILIOR. Cordier, TOUT PAR COMPAS SUY COMPOSES. Caserta, PAR LES BONS GEDEONS. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1450. Bologna, NON AL SUO AMANTE. Landini, OR SU, GENTILI SPIRTI. 15. Music at the Cathedral of Florence. Dufay, NUPER ROSARUM FLORES. 16. Music in England. Anonymous, SUMER IS ICUMEN IN. Anonymous, AGINCOURT CAROL. Dunstaple, QUAM PULCHRA ES. 17. Music at the Court of Burgundy. Binchois, DUEIL ANGOISSEUS. Dufay, LAMENTATIO SANCTAE MATRIS ECCLESIAE CONSTANTINOPOLITANAE. Dufay, KYRIE of the MISSA L'HOMME ARME. 18. Music at the French Royal Court. Ockeghem, PRENEZ SUR MOI. Ockeghem, KYRIE of the MISSA PROLATIONUM. Josquin, GUILLAUME SE VA CHAUFER. Basiron, SALVE REGINA. Busnoys, JE NE PUIS VIVRE AINSY. 19. Music in the Low Countries. Obrecht, CREDO of the MISSA SUB TUUM PRESIDIUM. Isaac, LA SPAGNA. PART III: THE LATE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. de' Medici, SIAN GALANTI DI VALENZA. Savonarola, GIESU, SOMMO CONFORTO. Josquin, EL GRILLO E BUON CANTORE. Arcadelt, IL BIANCO E DOLCE CIGNO. Vecchi, IL BIANCO ET DOLCE CIGNO. 21. Josquin des Prez and Music in Ferrara. Josquin, SANCTUS of the MISSA HERCULES DUX FERRARIE. Josquin, MISERERE MEI, DEUS. 22. Music in Renaissance Paris. Sermisy, TANT QUE VIVRAY (four arrangements). Anonymous, Pavane and Galliard. 23. Renaissance Instruments and Instrumental Music. Fuenllana, FANTASIA. Merulo, CANZONA. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. Isaac, INNSBRUCK, ICH MUSS DICH LASSEN. Hofhaimer, SALVE REGINA for Organ. Luther, EIN FESTE BURG. Walter/Luther, EIN FESTE BURG, 4-part setting. Lassus, DE PROFUNDIS CLAMAVI. 25. Rome and the Music of the Counter-Reformation. Palestrina, SANCTUS of the MISSA AETERNA CHRISTI MUNERA. Palestrina, TU ES PETRUS. Palestrina, KYRIE of the MISSA TU ES PETRUS. 26. Music in Elizabethan England, Part I: Early Vocal Music. Henry VIII, PASTYME WITH GOOD COMPANYE. Tallis, Psalm 2. Byrd, O LORD, MAKE THY SERVANT, ELIZABETH. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. Morley, GOE FROM MY WINDOW. Weelkes, AS VESTA WAS FROM LATMOS HILL DESCENDING. Dowland, FLOW MY TEARS. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. Gesualdo, MORO, LASSO. Monteverdi, CRUDA AMARILLI.
  • (source: Nielsen Book Data)9780495008798 20160528
  • PART IV: BAROQUE MUSIC. 30. The Birth of Opera: Florence, Mantua, and Venice. Peri, EURIDICE, "Funeste piagge." Caccini, LE NUOVE MUSICHE, FILLI, MIRANDO IL CIELO. Monteverdi, ORFEO, "Toccata, " "A l'amara novella, " "Tu se' morta, " "Possente spirto." Monteverdi, L'INCORONAZIONE DI POPPEA, "Pur ti miro." 31. The Concerted Style in Venice and Dresden. Gabrieli, IN ECCLESIIS. Monteverdi, HOR CHE 'L CIEL ET LA TERRA. Strozzi, L'AMANTE SECRETO: VOGLIO MORIRE. Schutz, SAUL, SAUL, WAS VERFOLGST DU MICH? 32. Religious Music in Baroque Rome. Allegri, MISERERE MEI, DEUS. Anonymous, KYRIE of the MISSA SALISBURGENSIS. Frescobaldi, FIORI MUSICALI, "Toccata, " KYRIE, "Ricercar." Carissimi, JEPHTE, "Plorate, filii Israel." Scarlatti, Cantata OH DI BETLEMME, "Oh di Betlemme, " "Dal bel seno d'una stella." 33. Instrumental Music in Italy. Rossi, SONATA SOPRA L'ARIA DI RUGGIERO. Corelli, Opus 4, No. 1, PRELUDIO, CORRENTE, ADAGIO, ALLEMANDA. Torelli, Trumpet Sinfonia in D major. Vivaldi, L'ESTRO ARMONICO, 1st mvt. 34. Instrumental Music in Germany and Austria. Froberger, Suite No. 12, ALLEMANDE, COURANTE, SARABAND, GIGUE. Biber, "Mystery" Sonatas, THE RESURRECTION. Buxtehude, WIE SCHON LEUCTET DER MORGENSTERN. Pachelbel, WIE SCHON LEUCTET DER MORGENSTERN. Pachelbel, Canon in D major. 35. Music in Paris and at the Court of Versailles, Part I: Vocal Music. Lully, ARMIDE, Overture, "Enfin, il est en ma puissance." Jacquet de La Guerre, JEPHTE, "Jephte revient, " "La Fille de Jephte." 36. Music in Paris and at the Court of Versailles, Part II: Instrumental Music. Gaultier, LA RHETORIQUE DES DIEUX, TOMBEAU DE MADAMOISELLE GAULTIER. Couperin, PIECES DE CLAVECIN, LA FAVORITE, L'ARLEQUINE. 37. Music in London, Part I: Henry Purcell. Purcell, DIDO AND AENEAS, "Thy hand Belinda, " "When I am Laid in Earth." Purcell, COME, YE SONS OF ART, "Come, ye sons of art, " "Sound the trumpet." Purcell, Funeral Music for Queen Mary, March, Canzona. 38. Music in London, Part II: George Frideric Handel. Handel, WATER MUSIC, Minuet and Trio, Hornpipe. Handel, GIULIO CESARE, "V'adoro, pupille." Handel, MESSIAH, "He shall feed his flock, " "Hallelujah" chorus. 39. Johann Sebastian Bach: Instrumental Music in Weimar and Cothen. Bach, ORGELBUCHLEIN, "In dulci jubilo, " "Durch Adams Fall." Bach, THE WELL-TEMPERED CLAVIER, Prelude and Fugue in C minor. Bach, BRANDENBURG CONCERTO No. 5, 1st mvt. 40. Johann Sebastian Bach: Vocal Music in Leipzig. Bach, WACHET AUF (complete cantata). Bach, B-Minor Mass, CREDO, "Crucifixus, " " Et resurrexit." PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERA. 41. Music in the Age of Enlightenment: Opera. Hasse, CLEOFIDE, "Digli ch'io son fedele." Gay, THE BEGGAR'S OPERA, dialogue and songs from Act I. Pergolesi, LA SERVA PADRONA, "Lo conosco." Rousseau, LE DEVIN DU VILLAGE, "A jamais Colin." Gluck, ORFEO ED EURIDICE, "Deh placatevi, " "Misero giovane, " "Ahime! Dove trascorsi?" "Che faro senza Euridice." 42. Music in the Age of Enlightenment: Orchestral Music. Sammartini, Symphony No. 3, 1st mvt. Stamitz, Symphony in E-flat major, 1st mvt. 43. Music in the Age of Enlightenment: Keyboard Music. Scarlatti, ESSERCIZI, Sonata No. 26. C. P. E. Bach, FANTASIA in C minor. J. C. Bach, Piano Sonata, 1st mvt. 45. Joseph Haydn: Instrumental Music. Haydn, Symphony No. 6, 1st mvt. Haydn, Op. 33, No. 3, "The Bird" Quartet, 1st mvt. 46. Joseph Haydn: Late Symphonies and Vocal Music. Haydn, Symphony No. 94, The "Surprise, " 2nd mvt. Haydn, Symphony No. 99, 1st mvt. Haydn, THE CREATION, "The Heavens Are Telling." 47. Wolfgang Amadeus Mozart: Instrumental Music. Mozart, Symphony No. 40, 1st mvt. Mozart, Symphony No. 41, "Jupiter, " 4th mvt. Mozart, Piano Concerto in A major, 1st mvt. 48. Wolfgang Amadeus Mozart: Vocal Music. Mozart, LE NOZZE DI FIGARO, "Se vuol ballare, " "Porgi, amor, " "Voi, che sapete, " "Vostre dunque." Mozart, Requiem Mass, "Confutatis, " "Lacrimosa." 49. The Early Music of Beethoven. Beethoven, Piano Sonata in C minor ("Pathetique"), 1st mvt. Beethoven, Piano Concerto No. 1, 3rd mvt. 50. Beethoven's Middle Period: 1802-1814. Beethoven, Symphony No. 3 (EROICA), 2nd mvt. 51. After the Congress of Vienna: Beethoven's Late Music. Beethoven, String Quartet in B-flat major, 5th mvt. Beethoven, MISSA SOLEMNIS, KYRIE.
  • (source: Nielsen Book Data)9780495008811 20160528
  • PART VI: ROMANTICISM. 52. Franz Schubert. Schubert, ERLKONIG. Schubert, GANYMED. Schubert, NAHE DES GELIEBTEN. 53. Music in Paris Under Louis Philippe: Berlioz and Chopin. Berlioz, SYMPHONIE FANTASTIQUE, 4th mvt. Berlioz, "Absence" from LES NUITS D'ETE. Chopin, Nocturne in D-flat major. 54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns. Mendelssohn, Piano Trio in D minor, 1st mvt. Robert Schumann, Symphony No. 1, 2nd mvt. Clara Schumann, LIEBST DU UM SCHONHEIT. 55. German Opera in the Nineteenth Century: Weber and Wagner. Weber, DER FREISCHUTZ, Wolf's Glen Scene. Wagner, DAS RHEINGOLD, Entrance of the Gods into Valhalla. 56. Opera in Italy: Rossini and Verdi. Rossini, THE BARBER OF SEVILLE, Act 1, No. 1. Verdi, OTELLO, Act IV, Sc. 3. 57. Nationalism and Virtuosity: Franz Liszt. Liszt, HUNGARIAN RHAPSODY No. 15 (RAKOCZY MARCH). 58. Vienna in the Late Nineteenth Century: Brahms and Bruckner. Brahms, Symphony No. 3, 1st mvt. Brahms, FELDEINSAMKEIT. Bruckner, CHRISTUS FACTUS EST. 59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky. Mussorgsky, SUNLESS, "Within Four Walls." Tchaikovsky, NUTCRACKER, Act 1, No. 8. 60. Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler. Gustav Mahler, Symphony No. 5, 4th mvt. Gustav Mahler, "Um Mittnernacht." Alma Mahler, "Die stille Stadt." 61. England at the End of the Romantic Period: Elgar and Vaughan Williams. Elgar, ENIGMA Variations, theme and 9th variation ("Nimrod"). 62. Opera in Milan After Verdi: Puccini, Toscanini, and Verismo. Puccini, MADAMA BUTTERFLY, "Dovunque al mondo." 63. Paris of the Belle Epoque: Debussy, Faure, and Lili Boulanger. Debussy, FETES GALANTES I, "En sourdine." Debussy, IMAGES I, "Reflets dans l'eau." Debussy, NOCTURNES, "Nuages." Faure, Dans la foret de septembre. Boulanger, CLAIRIERES DANS LE CIEL, "Elle est gravement gaie." PART VII: THE EARLY TWENTIETH CENTURY. 64. Richard Strauss in Berlin. Strauss, SALOME, concluding scene. 65. Music in Russia During the Silver Age: Igor Stravinsky. Stravinsky, THE RITE OF SPRING, "Procession of the Sage, " "The Sage, " "Dance of the Earth." 66. Atonality: Schoenberg and Scriabin. Schoenberg, Piano Piece, Op. 11, No. 1. Schoenberg, PIERROT LUNAIRE, "Nacht." Scriabin, Piano Prelude, Op. 74, No. 5. 67. French Music at the Time of World War I: Ravel and Satie. Ravel, LE TOMBEAU DE COUPERIN, "Rigaudon." Satie, Sarabande No. 2. 68. Music in Paris After World War I: Stravinsky and the Six. Stravinsky, Octet, 1st mvt. Milhaud, SAUDADES DE BRAZIL, "Botofago." 69. Vienna in the Aftermath of War: Twelve-Tone Methods. Schoenberg, String Quartet No. 4, 1st mvt. Webern, Symphony, 2nd mvt. 70. Musical Theater in Germany in the 1920s: Berg and Weill. Berg, WOZZECK, Act 3, Sc. 2. Weill, THE THREEPENNY OPERA, "Ballad of Mack the Knife." 71. Bela Bartok and Hungarian Folk Music. Bartok, EIGHT HUNGARIAN FOLK SONGS, "Fekete fod." Bartok, Concerto for Orchestra, 1st mvt. 72. Early Jazz. Joplin, "Maple Leaf Rag." 73. Paul Hindemith and Music in Nazi Germany. Hindemith, MATHIS DER MALER, Sc. 6, Entrance 3. 74. Music in Soviet Russia: Prokofiev and Shostakovich. Prokofiev, Piano Sonata No. 7, 3rd mvt. Shostakovich, Piano Concerto No. 1, 1st mvt. 75. Self-Reliance in American Music: Ives, Seeger, Nancarrow. Ives, "Feldeinsamkeit." Ives, "Charlie Rutlage." Ives, THE UNANSWERED QUESTION. Seeger, String Quartet, 2nd mvt. 76. American Composers Return from Europe: Copland and Barber. Copland, Piano Variations. Copland, APPALACIAN SPRING, "Variations on a Shaker Hymn." Barber, HERMIT SONGS, "Sea-Snatch." 77. Tin Pan Alley and the Broadway Musical. Gershwin, "The Man I Love." Rodgers and Hammerstein, OKLAHOMA! "I Cain't Say No." Bernstein, WEST SIDE STORY, "Cool." PART VIII: CONTEMPORARY MUSIC. 78. Reflections on War: Britten, Penderecki, and Others. Britten, WAR REQUIEM, Agnus Dei. Penderecki, THRENODY FOR THE VICTIMS OF HIROSHIMA. 79. Twelve-Tone Music and Serialism After World War II. Babbitt, Composition for Piano No. 1. Stravinsky, AGON, Bransle Double. Boulez, LE MARTEAU SANS MAITRE, "L'artisanat furieux." 80. Alternatives to Serialism: Chance, Electronics, Textures. Cage, MUSIC OF CHANGES, Part 1. Varese, POEME ELECTRONIQUE. Messiaen, "Mode de valeurs et d'intensites." 82. Music in the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations. Berio, CIRCLES, "Stinging Gold Swarms." Crumb, ANCIENT VOICES OF CHILDREN, "'De donde vienes?" Carter, String Quartet No. 2, Introduction and 1st mvt. Reich, CLAPPING MUSIC. 83. Returning to the Known: Music of the Recent Past. Ligeti, HUNGARIAN ROCK. Adams, NIXON IN CHINA, "News." Tower, FANFARE FOR THE UNCOMMON WOMAN. Part, BERLIN MASS, CREDO.
  • (source: Nielsen Book Data)9780495008941 20160528
The perfect companion to MUSIC IN WESTERN CIVILIZATION! With an introduction to, a score for, and lyrics and translation for each piece, ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION, VOLUME I: ANTIQUITY THROUGH THE BAROQUE enhances your understanding of the major European styles, genres, and composers.
(source: Nielsen Book Data)9780495029991 20160528
Music Library
MUSIC-PERMANENT
Book
xxix, 832 p. : ill. (some col.), music ; 29 cm.
  • PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. 2. Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World. 3. Music in the Monastery and Convent. 4. Music Theory in the Monastery: John of St. Gall and Guido of Arezzo. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. 6. Troubadours and Trouveres. 7. Early Polyphony. 8. Music in Medieval Paris: Polyphony at Notre Dame. 9. Music in the Cathedral Close and University: Conductus and Motet. 10. In the Parisian Master's Study: Music Theory of the Ars Antiqua and Ars Nova. 11. Music at the Court of the French Kings. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. 13. Avignon, Symbolic Scores, and the Ars Subtilior. MUSICAL INTERLUDE 1. FROM MEDIEVAL MANUSCRIPT TO MODERN PERFORMANCE. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1425. 15. Music at the Cathedral of Florence. 16. Music in England. 17. Music at the Court of Burgundy. 18. Music at the French Royal Court. 19. Music in the Low Countries. PART III: THE LATE RENAISSANCE. MUSICAL INTERLUDE 2. MUSICAL HUMANISM AND THE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. 21. Josquin Des Prez and Music in Ferrara. MUSICAL INTERLUDE 3. MUSIC PRINTING DURING THE RENAISSANCE. 22. Music in Renaissance Paris. 23. Renaissance Instruments and Instrumental Music. MUSICAL INTERLUDE 4. MUSIC THEORY IN THE RENAISSANCE. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. 25. Rome and the Music of the Counter-Reformation. 26. Music in Elizabethan England, Part I: Early Vocal Music. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. PART IV: BAROQUE MUSIC. 29. Early Baroque Music. 30. The Birth of Opera: Florence, Mantua, and Venice. 31. The Concerted Style in Venice and Dresden. 32. Religious Music in Baroque Rome. 33. Instrumental Music in Italy. 34. Instrumental Music in Germany and Austria. 35. Music in Paris and at the Court of Versailles, Part I: Vocal Music. 36. Music in Paris and at the Court of Versailles, Part II: Instrumental Music. Musical Interlude 5: From Ancient to Modern: Aspects of Baroque Music Theory. 37. Music in London, Part I: Henry Purcell. 38. Music in London, Part II: George Frideric Handel. 39. Johann Sebastian Bach: Instrumental Music in Weimar and Cothen. 40. Johann Sebastian Bach: Vocal Music in Leipzig.
  • (source: Nielsen Book Data)9780495008651 20160528
  • PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERA. 41. Music in the Age of Enlightenment: Opera. 42. Music in the Age of Enlightenment: Orchestral Music. 43. Music in the Age of Enlightenment: Keyboard Music. 44. Classical Music in Vienna. 45. Joseph Haydn: Instrumental Music. 46. Joseph Haydn: Late Symphonies and Vocal Music. 47. Wolfgang Amadeus Mozart: Instrumental Music. 48. Wolfgang Amadeus Mozart: Vocal Music. 49. The Early Music of Beethoven. 50. Beethoven's Middle Period: 1802-1814. 51. After the Congress of Vienna: Beethoven's Late Music. PART VI: ROMANTICISM. MUSICAL INTERLUDE 6. MUSIC IN THE NINETEENTH CENTURY: THE ROMANTIC PERIOD. 52. Franz Schubert. 53. Music in Paris Under Louis Philippe: Berlioz and Chopin. 54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns. 55. German Opera in the Nineteenth Century: Weber and Wagner. 56. Opera in Italy: Rossini and Verdi. 57. Nationalism and Virtuosity: Franz Liszt. 58. Vienna in the Late Nineteenth Century: Brahms and Bruckner. 59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky. 60. Vienna at the turn of the Twentieth Century: Gustav and Alma Mahler. 61. England at the End of the Romantic Period: Elgar and Vaughan Williams. 62. Opera in Milan After Verdi: Puccini, Toscanini, and Mascagni. 63. Paris of the Belle Epoque: Debussy, Faure, and Lili Boulanger. PART VII: THE TWENTIETH CENTURY. MUSICAL INTERLUDE 7. MUSIC SINCE 1900. 64. Richard Strauss in Berlin. 65. Music in Russian During the Silver Age: Igor Stravinsky. 66. Atonality: Schoenberg and Scriabin. 67. French Music at the Time of World War I: Ravel and Satie. 68. Music in Paris After World War I: Stravinsky and the Six. 69. Vienna in the Aftermath of War: Twelve-Tone Methods. 70. Musical Theater in Germany in the 1920's: Berg and Weill. 71. Bela Bartok and Hungarian Folk Music. 72. Early Jazz. 73. Paul Hindemith and Music in Nazi Germany. 74. Music in Soviet Russia: Prokofiev and Shostakovich. 75. Self-Reliance in American Music: Ives, Seeger, and Nancarrow. 76. American Composers Return from Europe: Copland and Barber. 77. Tin Pan Alley and the Broadway Musical. PART VIII: CONTEMPORARY MUSIC. MUSICAL INTERLUDE 8. AFTER WORLD WAR II. 78. Reflections on War: Britten, Penderecki, and Others. 79. Twelve-Tone Music and Serialism After World War II. 80. Alternatives to Serialism: Chance, Electronics, Textures. 81. Harlem in the 1930s, 1940s, and 1950s: Big Bands, Bebop, and Cool Jazz. MUSICAL INTERLUDE 9. THE BIRTH OF ROCK. 82. Music of the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations. 83. Returning to the Known: Music of the Recent Past.
  • (source: Nielsen Book Data)9780495008668 20160528
  • PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. 2. Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World. 3. Music in the Monastery and Convent. 4. Music Theory in the Monastery: John of St. Gall and Guido of Arezzo. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. 6. Troubadours and Trouveres. 7. Early Polyphony. 8. Music in Medieval Paris: Polyphony at Notre Dame. 9. Music in the Cathedral Close and University: Conductus and Motet. 10. In the Parisian Master's Study: Music Theory of the Ars Antiqua and Ars Nova. 11. Music at the Court of the French Kings. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. 13. Avignon, Symbolic Scores, and the Ars Subtilior. MUSICAL INTERLUDE 1. FROM MEDIEVAL MANUSCRIPT TO MODERN PERFORMANCE. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1425. 15. Music at the Cathedral of Florence. 16. Music in England. 17. Music at the Court of Burgundy. 18. Music at the French Royal Court. 19. Music in the Low Countries. PART III: THE LATE RENAISSANCE. MUSICAL INTERLUDE 2. MUSICAL HUMANISM AND THE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. 21. Josquin Des Prez and Music in Ferrara. MUSICAL INTERLUDE 3. MUSIC PRINTING DURING THE RENAISSANCE. 22. Music in Renaissance Paris. 23. Renaissance Instruments and Instrumental Music. MUSICAL INTERLUDE 4. MUSIC THEORY IN THE RENAISSANCE. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. 25. Rome and the Music of the Counter-Reformation. 26. Music in Elizabethan England, Part I: Early Vocal Music. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. PART IV: BAROQUE MUSIC. 29. Early Baroque Music. 30. The Birth of Opera: Florence, Mantua, and Venice. 31. The Concerted Style in Venice and Dresden. 32. Religious Music in Baroque Rome. 33. Instrumental Music in Italy. 34. Instrumental Music in Germany and Austria. 35. Music in Paris and at the Court of Versailles, Part I: Vocal Music. 36. Music in Paris and at the Court of Versailles, Part II: Instrumental Music. Musical Interlude 5: From Ancient to Modern: Aspects of Baroque Music Theory. 37. Music in London, Part I: Henry Purcell. 38. Music in London, Part II: George Frideric Handel. 39. Johann Sebastian Bach: Instrumental Music in Weimar and Cothen. 40. Johann Sebastian Bach: Vocal Music in Leipzig. PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERA. 41. Music in the Age of Enlightenment: Opera. 42. Music in the Age of Enlightenment: Orchestral Music. 43. Music in the Age of Enlightenment: Keyboard Music. 44. Classical Music in Vienna. 45. Joseph Haydn: Instrumental Music. 46. Joseph Haydn: Late Symphonies and Vocal Music. 47. Wolfgang Amadeus Mozart: Instrumental Music. 48. Wolfgang Amadeus Mozart: Vocal Music. 49. The Early Music of Beethoven. 50. Beethoven's Middle Period: 1802-1814. 51. After the Congress of Vienna: Beethoven's Late Music. PART VI: ROMANTICISM. MUSICAL INTERLUDE 6. MUSIC IN THE NINETEENTH CENTURY: THE ROMANTIC PERIOD. 52. Franz Schubert. 53. Music in Paris Under Louis Philippe: Berlioz and Chopin. 54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns. 55. German Opera in the Nineteenth Century: Weber and Wagner. 56. Opera in Italy: Rossini and Verdi. 57. Nationalism and Virtuosity: Franz Liszt. 58. Vienna in the Late Nineteenth Century: Brahms and Bruckner. 59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky. 60. Vienna at the turn of the Twentieth Century: Gustav and Alma Mahler. 61. England at the End of the Romantic Period: Elgar and Vaughan Williams. 62. Opera in Milan After Verdi: Puccini, Toscanini, and Mascagni. 63. Paris of the Belle Epoque: Debussy, Faure, and Lili Boulanger. PART VII: THE TWENTIETH CENTURY. MUSICAL INTERLUDE 7. MUSIC SINCE 1900. 64. Richard Strauss in Berlin. 65. Music in Russian During the Silver Age: Igor Stravinsky. 66. Atonality: Schoenberg and Scriabin. 67. French Music at the Time of World War I: Ravel and Satie. 68. Music in Paris After World War I: Stravinsky and the Six. 69. Vienna in the Aftermath of War: Twelve-Tone Methods. 70. Musical Theater in Germany in the 1920's: Berg and Weill. 71. Bela Bartok and Hungarian Folk Music. 72. Early Jazz. 73. Paul Hindemith and Music in Nazi Germany. 74. Music in Soviet Russia: Prokofiev and Shostakovich. 75. Self-Reliance in American Music: Ives, Seeger, and Nancarrow. 76. American Composers Return from Europe: Copland and Barber. 77. Tin Pan Alley and the Broadway Musical. PART VIII: CONTEMPORARY MUSIC. MUSICAL INTERLUDE 8. AFTER WORLD WAR II. 78. Reflections on War: Britten, Penderecki, and Others. 79. Twelve-Tone Music and Serialism After World War II. 80. Alternatives to Serialism: Chance, Electronics, Textures. 81. Harlem in the 1930s, 1940s, and 1950s: Big Bands, Bebop, and Cool Jazz. MUSICAL INTERLUDE 9. THE BIRTH OF ROCK. 82. Music of the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations. 83. Returning to the Known: Music of the Recent Past.
  • (source: Nielsen Book Data)9780534619626 20160528
Understand music in context with MUSIC IN WESTERN CIVILIZATION, VOLUME II: THE ENLIGHTENMENT TO THE PRESENT! Clear and easy-to-understand, this music text provides you with the tools you need to succeed in this course. With a focus on the history of music in the wider context of Western civilization, you will see how study of music history is important to the practice and performance of music today. Numerous full-color photographs, maps, and timelines give you a sense of the place of music within the arts and humanities in the West. Class preparation is made easy with the book-specific website that contains features such as additional musical selections, a music glossary, unit resources, and more.
(source: Nielsen Book Data)9780495008668 20160528
Music Library
MUSIC-PERMANENT
Book
x, 153 p. : ill, music ; 18 x 25 cm.
Music Library
MUSIC-PERMANENT