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• 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)

• 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)

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)

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)

• Part I: THE NATURE OF MUSIC.
• 1. Music Listening and You.
• 2. Rhythm.
• 3. Melody and Harmony.
• 4. Dynamics, Timbre, and Organization.
• 5. Orchestral Instruments.
• 6. Other Musical Instruments. Part II: EARLY, MEDIEVAL, AND RENAISSANCE MUSIC.
• 7. Early Western Music, 500 B.C.-A.D.
• 1200.
• 8. Late Medieval Music, 1100
• -1450.
• 9. Renaissance Music, 1450
• -1600. Part III: BAROQUE MUSIC, 1600-1750 .
• 10. The Baroque Period.
• 11. Oratorio and Cantata.
• 12. Opera in the Baroque.
• 13. Baroque Instrumental Music: Suite and Sonata.
• 14. Baroque Instrumental Music: Concerto and Fugue. Part IV: CLASSICAL MUSIC, 1750
• -1820.
• 15. Classicism and Classical Music.
• 16. Sonata Form.
• 17. The Concerto.
• 18. Classical Opera.
• 19. Chamber Music.
• 20. Piano Sonatas.
• 21. The Symphony and Beethoven. Part V: ROMANTIC MUSIC, 1820
• -1900.
• 22. Romance and Romanticism.
• 23. Early Romantic Music.
• 24. Romantic Piano Music.
• 25. Program and Ballet Music.
• 26. Romantic Opera.
• 27. Romantic Instrumental Music.
• 28. Nationalism. Part VI: THE TWENTIETH CENTURY AND BEYOND.
• 29. Music in the Twentieth Century and the Future.
• 30. Impressionism and Post-Romanticism.
• 31. The Mainstream.
• 32. Primitivism and Expressionism.
• 33. Neoclassicism and Tone Row Music.
• 34. Concert Music in the United States.
• 35. New Sounds and New Techniques. Part VII: POPULAR MUSIC AND JAZZ, 1750-PRESENT.
• 36. Early American Music.
• 37. Popular Music and Jazz Before
• 1950.
• 38. Popular Music Since
• 1950.
• 39. Music for Stage and Film. Part VIII: MUSIC AROUND THE WORLD.
• 40. Folk and Ethnic Music.
• 41. Folk Music of Europe and the Americas.
• 42. Music of Africa and the Middle East.
• 43. Music of Asia.
• (source: Nielsen Book Data)

Charles Hoffer's best-selling "Music Listening Today" is a complete course solution that develops student's listening skills while teaching them to appreciate the different styles, forms, and genres of music. The text provides dozens of familiar and lesser-known musical selections, all carefully chosen for their ability to get students interested in listening to all kinds of music. This affordable, brief, chronological survey text features two CDs - included with new copies of the book at no additional cost.
(source: Nielsen Book Data)

• Preface: To the instructor
• Introduction: To the student
• unit I. Fundamentals. Prelude: A musical thunderstorm / by Richard Wagner ; ch. 1. Rhythm, meter, and tempo ; ch. 2. Pitch, dynamics, and tone color ; ch. 3. Scales and melody ; ch. 4. Harmony, texture, tonality, and mode ; ch. 5. Musical form and musical style
• unit II. Early music: an overview. ch. 6. The Middle Ages ; ch. 7. The Renaissance ; ch. 8. The early Baroque period
• unit III. The eighteenth century. ch. 9. Prelude: The late Baroque period ; ch. 10. Baroque instrumental music ; ch. 11. Baroque vocal music ; ch. 12. Prelude: Music and the Enlightenment ; ch. 13. The symphony ; ch. 14. Other classical genres
• unit IV. The nineteenth century. ch. 15. Beethoven ; ch. 16. Prelude: Music after Beethoven: Romanticism ; ch. 17. The early Romantics ; ch. 18. Romantic opera ; ch. 19. The late Romantics
• unit V. The twentieth century and beyond. ch. 20. Prelude: Music and Modernism ; ch. 21. Early Modernism ; ch. 22. Alternatives to Modernism ; ch. 23. The late twentieth century ; ch. 24. Music in America: jazz and beyond
• Appendix A. Time lines
• Appendix B. Musical notation
• Glossary of musical terms.

• World of MusicTable of Contents Part One: Preparation for Listening
• Chapter 1: Introducing the World of Music The Infinite Variety of Music: A Global Perspective The American Mainstream and Ethnic Diversity Music in Culture Music Labels: Help or Hindrance? Artists and Artistry The Business of Music Manufacturing and Merchandising Performance of Music Music Publishing and Copyright Laws Music in Advertising Music in the Community Summary
• Chapter 2: The Nature of Music: Vocabulary for Listening and Understanding Definitions of Music Music as a Science Expressive and Functional Qualities of Music Music Is Sound and Silence Music Moves through Time Music Is an Art Music Is Universal Music Is a Means of Expression Music Can Be Functional Music Is a Changing Art The Creative, Performing, and Listening Experiences Participating in Active Listening The Elements of Music 26 Melody Harmony Rhythm Loudness Tone Quality Interaction of the Elements To Create a Style: Musical Concepts Texture Genres and Forms Melodic Growth and Character Goals for Listening Summary Part Two: Listening to American Music: Folk, Religious, Jazz, and Pop
• Chapter 3: Folk Music Traditions Goals for Listening The Roots of Traditional Folk Music Types of Folk Music The Blues Folk Music: An Expanded View The Urban Folk Revival Urban Blues Summary
• Chapter 4: Religious Music Traditions Goals for Listening The Roots of American Protestant Music Psalm Singing and Psalters Lining Out, Singing Schools, and the Shape-Note System Traditional Black Gospel Music White Gospel Music: Revival and Evangelical Hymns Popular Contemporary Styles Summary
• Chapter 5: Jazz Styles Goals for Listening What Is Jazz? The Jazz Style The Feel of Swing Instruments Improvisation The Roots of Jazz Jazz Styles New Orleans and Chicago Jazz Stride and Boogie Woogie Swing and Big Band Jazz Bebop Cool Jazz, Hard Bop, Soul Jazz, and Free Jazz Modern Jazz, Fusion, and Smooth Jazz Summary
• Chapter 6: Popular Music Goals for Listening The Definition and Scope of Popular Music Pre-Twentieth Century Twentieth Century and Beyond Tin Pan Alley Vaudeville Musicals Film Radio and Recordings Country Music Hillbilly Cowboy Songs and Western Swing Bluegrass The Nashville Sound Contemporary Country Early African American In'uences Motown Gospel Rhythm and Blues Soul Contemporary Styles Rock Rap/Hip-Hop Other Genres Summary Part Three: Listening to World Music
• Chapter 7: Music of the Americas Goals for Listening Native American Music Style and Context Assimilation and Preservation Ethnic Music in the United States Reggae Latino Music Cajun and Zydeco Music Music of South America, Mexico, and the Caribbean Indigenous Folk Culture Musical Instruments Folk Songs and Dances Religious In'uences Summary
• Chapter 8: Music Beyond the Americas Goals for Listening Music in India Classical Music Popular Music Music in Japan The Performance Context Musical Genres Gagaku Kabuki Koto, Shakuhachi, and Shamisen Music in Sub-Saharan Africa Music in Context Instruments Rhythm Popular Music Music in Eastern Europe Indonesian Gamelan and Popular Music Jewish Music Cultural Context Liturgical Music Klezmer Music Celtic Music Instruments Artists Altan Clannad Solas The Chieftains Summary Part Four: Listening to Western Classical Music
• Chapter 9: Music to 1600 Goals for Listening The Beginnings of Western Music (until 1450) Gregorian Chant Notation Polyphonic Music The Renaissance (1450-1600) Choral and Vocal Music Mass Motet Madrigal Instrumental Music The Reformation Featured Composers Josquin des Prez Giovanni Pierluigi da Palestrina Giovanni Gabrieli Summary
• Chapter 10: Music of the Baroque Period (1600-1750) Goals for Listening Musical Characteristics Texture Major-Minor Tonal System Continuo Word Painting Other Musical Characteristics Instruments Musical Forms and Genres Opera Orchestral Works Chamber Music Keyboard Works Choral Music Featured Composers Johann Sebastian Bach George Frideric Handel Other Notable Composers Summary
• Chapter 11: Music of the Classic Period (1750-1820) Goals for Listening Musical Characteristics Instruments Genres Instrumental Vocal, Choral, and Opera Forms Sonata Form Theme and Variations Minuet and Trio Rondo Featured Composers Franz Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven Summary
• Chapter 12: Music of the Romantic Period (Nineteenth Century) Goals for Listening Musical Characteristics Forms and Genres Instrumental Forms and Genres Opera and Ballet Keyboard Forms and Genres Songs Featured Composers Johannes Brahms Frederic Chopin Felix Mendelssohn Franz Schubert Pyotr I'yich Tchaikovsky Giuseppe Verdi Richard Wagner Other Notable Composers Summary
• Chapter 13: Music of the Twentieth Century Goals for Listening General Characteristics Stylistic Developments and Featured Composers Impressionism: Claude Debussy Experimental Music: Igor Stravinsky Atonal Music and Serialism: Arnold Schoenberg Electronic Music: Edgard Varese Chance Music: John Cage Nationalism: Bela Bartok Nationalism: Charles Ives and Aaron Copland Additional American Composers Amy Cheney Beach Ruth Crawford Ellen Taaffe Zwilich Ulysses Kay Henry Cowell George Gershwin William Grant Still Neoclassical Music Minimalism Traditional Sounds Summary Appendix A: A List of Recommended DVDs and Videos Supporting the Philosophy of The World of Music Appendix B: Classi'cation of Instruments according to Methods of Tone Production Glossary Bibliography Credits Index.
• (source: Nielsen Book Data)

David Willoughby's popular music appreciation text is now powered by McGraw-Hill's state of the art digital content platform, Connect Music. Now students and instructors can have access to all the music featured in the text along with a wide range of activities, assessments, and a convenient ebook. These powerful new tools combine with Willoughby's original and insightful approach to the music appreciation course to provide students with a unique resource that will change the way they listen to music forever. "The World of Music" is a music appreciation program designed for instructors who want to focus on listening to music as it exists in the real world of their students. With "Connect" (purchased separately), students now have access to digital content that will improve outcomes and foster better engagement with the music in their lives. Expanding the traditional repertoire used for music study, this popular text begins with American folk, religious, jazz, popular, and ethnic music before introducing some world music and concluding with a thorough overview of Western classical music. The approach captures the essence of each repertoire, and new digital tools equip students to recognize different styles, appreciate their different functions, and possess a solid foundation for a lifetime of musical appreciation. Now with "Connect", "The World of Music" is the ideal program for the most student-centered experience in Music Appreciation.
(source: Nielsen Book Data)

Easy to read, easy to teach, The Enjoyment of Music has been the most trusted introduction to music for over five decades. The eleventh edition reflects how today's students learn, listen to and live with music. With an accessible, student-friendly treatment of the subject, it emphasises context to show how music fits in the everyday lives of people throughout history and connects culture, performance and technology to the lives of students today. The new edition features a streamlined and memorable narrative, more cultural and historical context and in-text features that encourage and develop critical thinking skills.
(source: Nielsen Book Data)

• Understanding and listening to music
• A mad dash through the roots of Western music
• The music of the medieval church
• A necessary and invigorating excursion into the worlds of music theory and terminology
• Emotional exuberance and intellectual control : the paradox of Baroque art
• Play it, don't say it : the rise of instrumental music
• National styles : Italy and Germany (or, Why German music will never hit your eye like a big pizza pie and Italian music will never go from best to wurst)
• Fugue it!
• Opera : the Baroque expressive revolution in action
• Opera goes to church
• A new liturgy comes of age : Lutheran Baroque sacred music
• Instrumental form in Baroque era music
• Baroque era musical genres
• Enlightened is as enlightened does : an introduction to the Classical era
• Putting it all together : Classical era musical form, part one
• Classical era musical form, part two
• Classical era orchestral genres, part one
• Classical era orchestral genres, part two
• Send in the buffone : opera in the Classical era
• A revolutionary artist for a revolutionary time : Ludwig van Beethoven
• Beethoven's compositional innovations : when the going gets tough, the tough innovate
• Isn't it Romantic? : the music of the nineteenth century
• Structural problems : formal challenges in early Romantic music
• Going beyond Beethoven : Hector Berlioz's Symphony fantastique and the program symphony
• Nineteenth-century Italian opera : Rossini and bel canto
• Giuseppe Verdi : it's all about the people-- dramatic truth in Italian opera
• Nineteenth-century German opera : von Weber and Wagner, nationalism and experimentation
• Of thee I sing : musical nationalism in the nineteenth century
• Romantic nationalism, Russian style
• A modern music for a modern world
• Revolutions, evolutions, and "-isms" galore : the making of a new music in the early twentieth century
• From Russia with rhythm : Igor Stravinsky
• No waltz in the park : Arnold Schoenberg's Vienna and Expressionism
• Postlude.

In both content and design, MUSIC aims to meet the course challenges of cost, brevity, and relevance to students. Created through a "student-tested, faculty-approved" review process with hundreds of students and 200 faculty, MUSIC is an engaging and accessible solution to the diverse lifestyles of today's learners. MUSIC integrates classical works and vernacular music by introducing a broad range of styles and genres from the Middle Ages through the twenty-first century and the connections and contrasts between them. The result is a well-rounded view of musical life in each era. MUSIC is designed to meet the needs of instructors who want to give their students an inexpensive and brief text that has an appealing magazine style with short chapters that can easily be read in a sitting, as well as a strong technology component. The text is accompanied by an audio CD set, an interactive eBook, and a CourseMate website with streaming music, interactive listening guides, interactive demos of musical elements, interactive style comparisons, quizzing, flashcards, and more.
(source: Nielsen Book Data)

• Preface PART ONE: Preparation for Listening
• Chapter 1. Introducing the World of Music
• Chapter 2. The Nature of Music: Vocabulary for Listening and Understanding PART TWO: Listening to American Music: Folk, Religious, Jazz, and Pop
• Chapter 3. Folk Music Traditions
• Chapter 4. Religious Music Traditions
• Chapter 5. Jazz Styles
• Chapter 6. Popular Music PART THREE: Listening to World Music
• Chapter 7. Music of the Americas
• Chapter 8 Music Beyond the Americas PART FOUR: Listening to Western Classical Music
• Chapter 9. Music to 1600
• Chapter 10. Music of the Baroque Period (1600-1750)
• Chapter 11. Music of the Classic Period (1750-1820
• Chapter 12. Music of the Romantic Period (Nineteenth Century)
• Chapter 13. Music of the Twentieth Century *
• Chapter 14. Music in the Twenty-First Century --* available on the text's Online Learning Center at www.mhhe.com/willoughby7e Appendix: Classification of Instruments According to Methods of Tone Production.
• (source: Nielsen Book Data)

"The World of Music" is a music appreciation book designed for instructors who want to focus on listening to music as it exists in the real world of their students. Expanding the traditional repertoire used for music study, this popular text begins with American folk, religious, jazz, popular, and ethnic music before introducing some world music and concluding with a thorough overview of Western classical music. The approach captures the essence of each repertoire, and equips students to recognize different styles, appreciate their different functions, and possess a solid foundation for a lifetime of musical appreciation.
(source: Nielsen Book Data)