A History of Western Music (9th edition) by J. Peter Burkholder


195baacb51d92d4-261x361.jpg Author J. Peter Burkholder
Isbn 9780393918298
File size 203MB
Year 2014
Pages 1200
Language English
File format PDF
Category art


 

' ' li I Ili l º' A HISTORY ,f ~ T E R N MUSIC Editorial Advisory Board Michael Alan Andersor1 E:asrntan Schoo!o/Music (Universiir of Rochesrer) Helen M. Cree111vald Nem Eng!i:md Conservotory· Hilary Poriss Nort/1<:astem Universil)' James Crier John Rice lndependcnr &holar ArvedAshby Ohio Stute Un iversity UniverSÍIJ'OfWesiern Ontario Gregory Barnett Rice Universil;r Colum.bi-0. University Màr1f-1re1Rorke Universicr Union. Thc lirm soon c.x-1>andcd it6 progrJm bcyond 1he lnstnutc. pubhslnng books by cclcbrated acadcmics from Amcnc.a and abroad. By núd ccnnuy, thc r,,.•o major pillars o( Norton's pu1,lishing prograrn-tradc books and Ct Êditor :md Pl'ojeet Editor: Kathy 14JaJ.ay F.lec1ronic Med1:i F.dit9r: Steve Hoge Electronic Media Assistant: Steíani \Vallaee Ass:oci.uc Editor:Justi11 Hoffmtrn E1rny. lnc. A.li iights rcserved. Pri rHt:,c ~ 1 56 60 59 57 0 .. lconc1u~~l e) Gloria lconc!n ~ I d) Cr ,"ldu:il: llideru.ni omn.es lco,,d~~I e) Allelufa: Di~ssoncrificatlls f) Cred o 58 g) 59 59 Offeriory: Tui sum co.eli 15 Alleluia/11sius 111 palma. íromAd organv,m faciendwn (ç~l!•i<\.J 88 16 JuWtmllS, t.i11lremus 89 [çº"'"•~ 17 Leon inus and conengues: Vidcrunr onmes 18 Cl3usu.kle on Don1frlus. from Videru ,u onotes a) Oominu.s. clausula No. 26 b) Dom in"s, cbuslJ a No. 29 19 21 Perotinus: Videruntomnes 59 j) Communion : Videruntomnes 57 k) !te. missa es1 60 lconc.11e ~I 53/ 54 56 b) Hymn: Cl,risie Rec!empto,·om,uwn 5 Ascribed to Wipo of Burgundy: Victimaepaschalilaudes !Com,.. ~! 62 6 Tropes on l'uernatus: Quem querit'5 in presepe and melisma 7 Hildcgaromne.< jc...,,.~ j G4 8 Bernart de Ventador n: Can ~:ei.lalauzeta mover lconciw MI 75 9 Com,essa de Dia:A cltanra.r 75 l O Adam de la Hallc:/w cl, RobinetdeMarion: Rond<:au. Robins ni'airne 6 1/63 78 Walther von der Vogelwcide: Palastinalied (N,i alristlebe ich mir werde) 79 12 Camiga 159: Non sofre Santa Maria, fro m CantigasdeSo,ua Maria [co~,,~ 80 13 L<>qua.rrewampicroyal. from t emanuscril dr., roi 83 14 Organa from Musira enchiriadis a) n. patrissempilemus es ftli us b) Sir Gloria dornini e) Re.Tcaeli domine 85 86 86 xix 95 97 97 98 100 Motels o n Tenor Dominus a) Facrum es, safotare/Don1.inus b) F'oleacostumance/Domínu..s ICand1t1 ~ I e) Sidelt: /1 bianco e dolce cigno )c••,,,. s-.) 247 57 Cipriano de Rore: Da k belle contrade d'oriente ICon,.,• S\I 250 58 Luc• Marenzio: Solo e pensoso 254 59 Corlo Gesualdo: "lo parto" e"°" pi,l dissi )e...... ,._) 255 60 Claudin ele Sermisy: 'fant que vi,,ror IC••"~ "-l 257 61 Orlande de Lassus: La 11uic1 froide er sornbrt 258 62 259 Claude LeJeune: Rei-·ecp,enirduprintans 63 Thomas Morley: My bon,,J'lass she smi!e1/1 (§;.<,,. ;iJ 64 Thomas Weelkes:As Vwa was )co•.,wS\J 260 261 Amhony Holborne: Dances a) TheNigh11Va1ch, almain 272 272 Luis de Narvãcz: From Los seys lihrosd"t Delphin a) Cancion Mille regres lconc-~ ~I b) Cuatro diferencia.sobre "Cuárdame las vacas·· )C•nd>< s-.) 273 275 284 71 Claudio Monteverd i: Cn.,daAmari!li Jc-1,. S\) 297 72 Giulio C, ccini: Vedró '!mio sol [Co•c,,.aj 311 73 Jneopo Peri: Lemusichesoprol'Ewidice: Excerpts a) Aria: Nel pt,rordor b) Dialogue ín recitative: Per que! vago boschetro 314 314 74 Claudio Monteverdi: J;Oifeo: Excerpt írorn Act li a) Arin/ c:1t1zonetta: Vi ricorda o bosch, ombrosi [Canc:is•fil b) Song: Mira. dth n1ir/J Oifeo e) Dialogue ir1 recit.1tive: Alti, ca.so acerbo ~ c,,e aj d) Recitative: Tu.se' morta IConcbe ~ I e) Chorai madrigal:Alti, coso acerbo )Conc,,.s-.) 75 23? 54 272 272 272 277 Tomás Luis de Victoria: O m.agnum mrsierium a) Om-ãgnum m_rsterium lcon<•i-e~ I b) MissaOmagn.um mprerium: Kyrie !Cone,.• "- ) 262 70 Giovanni Gabrieli: Canzonsep1imi toni o 8. fromSo.crae s;mphonio.t 227 231 Joh11 Oowland: now. m)'tears [çonc11• S\] 69 William Byrcl :/ohncomekiss menow )Concls,S\I 225 51 Giovan ni Pierluigi da Palestrina: Pope Marcelfos Mass Page b) The Pairte-round, g•lliard 207 217 21 7 218 219 Text Compo,er and Title Claudio Montcrvcrdj : L'incoronazionedi Poppea: Act 1. Sccnc 3 a) Dialogue ín recítative: Signor. deh non partíre &_ ..,.,,~ b) Aria: ln un sospir !Con La vi.sionaire lcº"°'·~I b) Lo muse v,ctorieu.se ICone,"' ~I e) Les ombres errantes 98 Jean-Baptiste Lully: Te Deum: Conclusion 362 Denis Caul,ier: lacoqueuevir111ose 365 88 Elis•be1h-Claudc Jacquet de 13 Cuerre: S11i1e in A Minor. from Piices de cla;-ecin a) Prelude [c•• ,,,.aj 366 e) Cour·a,uc, 366 ,.,d [I ls:o..:,.. aj d) Sorabande e) Cigue f) Chaconne g) Covotte h) Menuel 89 366 b) Allem:rnde f Conci,e ~ ) Henry Purcell: Dido and Aenea~: Conclusion a) Recitalive: Th,- hand. Belir1d<1 1e ••,,~ ~I b) Lament. (ground bass aria) : When { amlmd i.nearth lconct141 i\l e) Chorus: Wirh droopingwinb'S 372 3?5 375 9 1 Juan de Araujo: Los c-onfladesde la estfoya 376 93 Alessanclro Scarlotti: Clori venosa. e bella: Conclusion a) Rccit•tive: Vivo penando b) Aria: Si, si be11 mio 382 Alessondro ScMlatti: La Grisei.da: Excerpt írom Act 1, Scene 2 382 381 94 Arcangelo Corelli: Trio Sonata in O Major. Op. 3. No. 2 386 e) Adagio !Co•ci••;:. I 386 386 ti) Allegro @;11c.11-e !t\] 95 Dietericb Buxtehu1cr, Book 1 a) Prelude No. 8 in E- llat Mino r ~ ,... aj b) Fugue No . 8 in O-sharp Minor g.,..,,.;:,] 441 441 Jobancr SebaSLian Bacb: Nunkomm, der Heiden Heiland. BWV 62 o) No. l. Chorus:Nunkomm. derl-feidenHeiland jc...,,.. ~I h) No. 2. Aria (tenor): Bewundert. o Menschen e) No. 3. Recilative (bass): So gehl au.s Cottes Herrlichkeil und 11iron d) No. 4, Aria (bass): Streite. siege. starker/Md! e) No. 5. Accompanicd rccitativc (soprano and aho): Wlrehren diese Herrlichkeit f) No. 6, Chorale: Lobsei~rr. dem. Vater, ron. 445 145 445 145 445 445 104 Johann Scbastian Bach: St. Matthew Passion. B\W 244: Exccrpl a) No. 36. Biblicol narra1ive: Undder llohepriesteranrwonere b) No. 37. Cboralc: Werhatdichsogescl,lagen e) No. 38, Biblicol narr.i ive: Perru.s aber safl drwflen in, Palas, d) No. 39.Aria: Erbannedich e) No. 40. Chorale: Bil\ichgleicl, •on dirgewichen 386 399 Georg Philipp Telemann: Paris Quan et No. 1 in G Major (Conceno Primo). Movements 3- 5 a) Presao 429 429 439 439 105 :1) Gr:.we J conci~~~I b) Allegro [ConCVÍ Guide 1.0 NA\VM Recording& NAWM No, Compo,er and Title 125 Text Page Ludwigvan 8eechoven: Pia110 So na13 in C Minor, Op. 13 (Poiliérique): Fir$t movernent ICot1ci~ aj 567 Lud wig van Beethoven: Sympbony No. 3 in E- ílat Major. Op. 55 (Eroieo}: firs, movement. AJlegro con brio ~n• fil 571 Giovanni Ba1ris1a Pergolesi: laseivo podrono: Excerpt t'l) Recit:ttive: Ali. quanro mi sta mole lcondse~I b) Aria: So,1 iml>rogliaio io Jcon,,.• ;;-.1 481 481 126 108 Johann Adolf Ha$$e: Cleoftde: Act 11, Scene 9: Digii ch'ioson fedele 484 127 109 John Cay: '11,e BeggorsOpel"(l: Excerpl írom Scene 13 a) Aria XV: M,-1,earttuas so free b) Aria XVI : Were l làid o,, Creer1/a,1d's coosl 489 489 128 Franz Schubert: Gretchen am Spinnrade. D. 118 492 129 Franz Schuben: Winterreise. D. 91 I. No . 5: Der Lindenbaum 130 Robert Schumann: Dichierliebe. Op. 48. No. 1: lm wundersch~nen Manai Mai 131 Stephen Foster: Jeanie wirh rhe Ught Brown fia ir 132 Robert Schumann: Corn<1Vol. Op. 9: Excerpts a) Nv. 5: Eu~tLius [c ...., ,,i: ih] b) No. 6: florestllll !Coo<1,.;;-.1 107 11O Cbristoph Willibald Gluck: O,feo ed Eurid,ce: Excerpt from Act 11, Scenc 1 11 1 Ciovan na Bauista Pergolesi: Staóar morer: Excerpt a) No. 4. Alto solo: Quae maerebatet dolebat 495 b) No. 5. Duct: Quis est homo 495 Ludwigvan Beethoven: StringQuartet in C-sharp Minor. Op. 13 1 a) First movemem, Ad3gio ma no11 troppo e moJto espressivo b) Seconcl mO\'ement.Allegro molto vivacc (c -1~~ s\ ) 581 jConcke s\ l 581 !Con«« ;;-.j 599 [c•..,,.,;;-.J 601 !Co•<>•• ;;-.! 603 605 11 2 William Billings: Creation. from The Continental Ham,onr 496 113 Domenico Sc.1rlani: Son.ia in D Major, K. 119 jc.,.,,,. ;;-.1 509 11 4 Carl Philipp Emanuel Bach: Sonata in A Major. H. 186. Wq. 55/4: Seco nd movemenr. Poco adagio ÍÇonq.,fil 511 ·133 Fanny Mendelssohn Hensel: Dós)ahr. No. 12: Deoember 612 11 5 Giovonni Battisrn Sammartini: Symphonyin F Mojor. No. 32: F'irst movement. Presto 513 134 Fryderyk Chopin: Ma1.urka in 8- íla, Major. Op. 7. No. 1 jeo.cr,. ;;-.1 616 11 6 Johann Stami tz: Sinfonia a 8 in E- na, Major. Op. l 1. No. 3: F'irst movemem. Allegro assai 514 135 Fryde,ykChopin: Nocturne i n D- 11,n Majo r. Op. 27. No. 2 11 7 Johann Christian Bach: Concer10 for 1-farpsichord or Piano and S1r ings in E- na, Ma jor, Op. 7, o.5: F'irstmovement. Allegrodi mollo 136 Franz Liszt:'/'rois éwdesde concer1 , No. 3: Unsospiro t.ç;;í.. aj 618 13 7 Louis Moreau CottschaJk: Socweoirde Porto Rico (Morcliedes Giboros). Op . 31 622 I 38 Hecto r Berlioz: Spnplioniefanra,tiq1te: Fiftb movement, 11 8 11 9 Joseph Haydn: StringQuarcet i11 E- flat Major. Op. 33. No. 2 ('11,e}oke). Hob. 111:38 a) First movement, AJlegro moderato. cantabile b) Second movement. Scheno: Allegro e) Third move,11e111. La rgosostenuto d) fOlfflh movement. Finale: Presto lcon,t,e s\ l Joseph Haydn: Symphony No. 88 in G Major. Hob. 1:88 :1) Fi rst movemrent. Adagio- allegro IConcue :i\ l 610 610 610 c) No. 7: Coquerre 516 521/ 535 524/ 534 524/ 535 524/535 !Conro,;;-.1 616 -o,eam o r a Witches· SabbaLh- !Co•••••;;;-.I 139 Allegro molto appassionato 140 630/ 633 Fclix Mendelssohn: Violin Conccno in E Miaor. Op. 64: f'irs t movcment. lfone:•$~..hl 637 Robert Schwnann: Syrnpbouy No. 4 in D Minor. Op. 120: First 1110\'Cmcnt. Ziemlieh l•ngsam- lebhoft b) Second mo"ement. Largo e) Third movement. Menuetto: Alltb'Tetto d) f'ourlh mo,·ement. Fiuale: AJlcgro coo spirit 529 529 529 529 14 1 Franz Schubert: StringQuintct in C Major. D. 956: First movemcnt. AJJcgro ma non lroppo 641 142 Clara Schumann: Piano Trio in G Minar. Op. 17: Third movemenr. Andam• 638 !Con,,w:;;-.1 643 120 Joseph Haydn: The C.eanon: No. 2. ln rhebe6~nningCod 537 143 Fclix Mendclssolm: l:lijoll, Op. 70: Chorus, And 1/ien sl1all J'011r /iglu brwk foril, 646 12 1 Wolfgnng Amadeus Mo,an: Piano Son31> in F Major, K. 332: First movement, Alleg-ro 545 144 Pra n, Schubert: Die Nacht, Op. 17, No. 4. D. 983c 647 122 \Volfg:mg Amadeus Mozart: Piano Concerto in A Major. K. 488: F'irst movemcnt. Allegro [Conme.&J 548 123 WolfgnngAmadcus Mozan: Sympbony No. 41 in C Major (Jupiter). K. 55 1: Finalc 551 124 Wolfgang Amadeus Mozan: Don Ciovonni: Act 1 a) Scene I jc. . .... ;;-. 1 b} Scene 2 lfiic,s, ;iil 554 554 145 Gioachino Rossini: llbarbiere diSiviglia: Actl. No. 7: Unavocepocofo [c°""'":aj l 46 Vincenzo Bellini: Norm.a: Act I. Scene 4. exeerpt: Casta di,•a 6591660 664 Gn id e lo NA\VM Reco rdings NAWM No. Composer and Title 147 Text Page Giacomo Meyerbeer: Les Huguertots: Conclusion or Ac1 l l a) Orchestral introduction and scene: Entrée de la Cour (Entrance oíthe Court). Oui. d'ttn heu reu.r hrme11 b) Slow section, Sermenl (Oath). fürd"honr,eur e) Accompanied recitative: Scêne (Scene). Er maituenant 149 Carl Maria voo \Veb~r: Der Frcischatz: Act I l. Finale. \Volí's Glen Scenc a) Cho ms at1d dialogue: Mi/eh des Moridesjieloufs Kroul b) Accompanied recita tive with spokcn dialogue: Treplich bedient! e) Melod rama: Schi 668 671 671 671 694 150 Ciuseppe Verdi : uuroviata. Ac1 11 l, Sccno anel Due1 a) Sl:eua: Si1511vru [Cuu01.1~ib] b) Tempod'au,cco: Colpel'Olsono ICon i e) C,111abile: Parigi. o cora ~.. "-] d) Tempo di mezzo: Ah non pit, lconcl,e-~ I e) Cabaleua:AI,! Gron Dio! Morirslgiovone ~"-üil 700 700 700 700 700 15 1 Giacomo Puccini : Madama Butterfly: Excerpt fromAct 1 703 152 Georges Bizet: Gc,nnen; Acl 1. No. 10: Seguidi lla anel Duel 705 153 Modest Musorgsky; Boris Godunov; Coronation Scene 710 154 Arthur Sull iv,n: 'lhe Pir'IJl<$O/ Pentál\Ct: Act IJ. No. 17: Whe,11ilefoemo,, barts hiss1eel Johannes Brahms: Symphony No. 4 in E Minor. Op. 98; Fourtb movemeul jc.."''•• "- 1 156 Jobannes Brahms: Qulatet for Piano and Strings in F Mlaor. Op. 34: rirs t rnovement. 157 Anton Bruckncr: Virgafesse. WAB 52 Rich.rd Strauss: Don Qufa:ore, Op. 35: Themcs ,nd V.iriorions 1- 2 IConc1.. ll>i 159 Gabriel Fau ré:Avanl quelu nel'en ai/les. from La bonnuhanson. Op. 61. No. 6 160 Piocr ll'yich Tchaikovsk')" Symphony No. 6 in B Minor (Po1hêtique) . Op. 74: Th ird movemcn1. Allegro moho vivocc 161 A111onin Dvor:lk:Slavonic Dances. Op. 46, No. 1, Pres10 1.0 NA\VM Recordi ngs NAWM No, Compo,er and Title 164 Text Page 716 726 Scon Joplin: Maple Lea/Hag a) piano rolI b) as played by Jelly Roll Monon 775 776 b"•aj 786 165 Cusrav Mahler: Kindertow,lieder: No. 1. Nun willdieSonn' so helloufgeh'n 166 Richard S11·auss: &t/011,e. Op. 51: Scene 'i. Conclusion: 11/1! /eh hobe deiner, ,\ft,nd gekilsst 167 Claude Debussy: Noc1umes : No. 1, Nuage< IConawll>! 795 168 Mourice Ravel: Le 1ombcau de Coupcrin: Menuet 798 169 Serge Rachmaninoff; Prelude in G Min.or, Op. 23. No. 5 800 788 170 AlexanderScriabi11: Verslaflammc. Op. 72 IConm•"-I 802 171 Erik S,iie: Embry·onsdesséchés: No. 3, De Podophrho.lma 809 172 Arnold Scbocnbcrg: Pi~rro, l11n.afre. Op_ 2 ) : E.xce.rpt-' 3) No. 8: Naclu íêõiisi~ !aj b) No. 13: En1haup1ung ICona" "-1 173 820 820 Arnold Schoenberg: Piano Suite, Op. 25 : Excerprs a) Prel11dc ICon,;,.,,_! b) Mcnuc1 anel Trio li;onds,aj 82 1 82 1 174 Alban Berg: Woueck. Op. 7: Ac1 11 l. Exce rpt a) Scene 2 b) Scene3 lk,.. fil 826 175 Anton Webern: Sym phony. Op. 21: Firs, moveme,11. Ruhigschrei1end 829 176 lgor Stravinsky: 7'he /!ire ofSpring: Exce:rpls a) Darise dcs adoles~r11es jc.,,.,.. li\ 1 b) Danse sacrale 833 728 Allegro nou troppo 158 Guide 668 693 155 X>CVÍii VO LUM E 3: T H E TW ENTI ET H CENT URY AND AFTF. R 668 668 d) Fast conclusion: Streue (Streua). O1ra,,sport! l 18 xxvíi 825 833 735 177 li;or Stravinsky; SJ·mphor1rof Psalrns, Pi rsi ,novemen, 837 739 178 Béla Bartók:Mikrokosmos: No. 123.Swccatoanduga,o !Conm• ~I 813 743 179 Bél:1 Bartôk: Music for Strings. Percussion and Celesta: Third movemem, Adagio [Conc,,e ~ 1 815 J 80 Charles lves: Genffal Jli'i/liam Boolh Eniers inlo Hea ven 745 748 162 Amy Beaeh: Piano Qu i11 1.c1 in r•sharp Mif\01·, Op. 67: Third move,nen1, Allcgro :1gi1~10 755 163 John Philip Sousa; The Sta,.. anel Stripes Forever 757 181 GcorgcGcrshwin: /GotRhphm. from GirlCrazy lc-... "-1 [Conc,.,ll>! 852 861 182 BessieSmith: Back WarerB!ue< ICon,,.,;:,.t 863 183 King Oliver: West ond 8/ues !Con,,.. ,.,1 a) Original sheet music (no, on recorcling) b) Transcription of recording by Louis Armstrong and His llot Five 866 866 ~•"-l 184 Duke Ellingt0n: Gouon Tail 185 Oarius Milhaud: Lacréation d11 monde, Op. 81a: First tableau 879 186 Kun \Veill: Oie Dreigrosclienoper: Prelucle. Die Morito, •on Mockie Messcr t.ç;,;;@ 881 870 Gn id e lo NA\VM Reco rding& NAWM No. Composer and Ti tle Paul Hi nde,nit h: S)mpl1011r Mnrl1is der Maler: Second rnovemen ,. Crableg,wg 188 Sergey Prokofrev:AlexanderNe1>Sk)', Op. 78: Fourtb movement, XXX Guide 1.0 NA\VM Recording& Page NAWM No, Compo,er and Title Page 884 212 Gyorgy Lige1i: Éwcle No. 9. Verrige 982 983 Text 187 xxix Text Arise. YeRussian PeopLe iC•••'••" l 887 213 Sofra Gubaid rtli na: Rejoice! Soll3ta forViolin antl ViolonceUo: fiftb movement, Lisren to rltesrillsrnoll voicewirlirn lcond,.~I 189 Dnútri Shostakovicb: Symphouy No. 5, Op. 4 7: Seconcl movement, Allegreuo 888 214 Alfred Sclrnittke: Concerto Grosso No. 1: Second movement, Toc<:ata 985 190 Heitor Vill•-Lobos: Bacltiánas brasileiras No. 5: No. 1. Aria (Cantilena) [i;;,... i!IJ 891 215 Arvo Pãrt: Seven MagruflcniAnlipl1or1s: Excerpts a) No. 1: O lli'eisheir b) No. 6: O Ki!nigaller V~lker 988 19 1 Silvestre Re,~rcltas: Home1ia1ea Fedelico Ga,-cía Lorca: First movemcnt. Baile 892 192 Edgard Va rêse: f!Jperplism 894 193 Henry Cowell: The Banshee 895 194 l\mh Cr awford Secger: String Quartel 1931: Fourth movement. Allegro possibile lc...,,.,,I 897 Aaron Copland:AppolacMan Spring. Exccrpt with Variations on 'Tis 1he Gift ro Be Simple [Cone1.. i<.f 899 Willi>m GrantStill:.Afro -AmericanSymphon)' (Symphony No. 1): Firs1 movemem. Mode1·:uo assai li:o"C1$~ :\\] 900 195 196 197 198 Leonard Bernstein; Wes1 Side S10,:,-: Act 1. No. 8. ·Coor· 908 908 918 199 Vincent Persicheui: SJmplwnrfor Bond (Symphony No. 6), Op. 69: 200 201 Firsi movemem. Adagio-Alleg-ro 921 Benjanún Briuen: Pernr Crimes: Act 111. Scene 2: To Irei! wirlr all rour mercr! 929 Olivier Messfaen: Quoriet for1h, End o['frme: l'irsl movemem, Uttugie de cristal ICondie ~ , 930 202 Plerre Boulez: Lema rteau. sans m.aitre: Movernent 6, Bourreaux de solitude 936 203 John Cage: Sonatas and lnterlud~s: Sonata V !Cona~;:\J 940 204 John Cage: Mu,ic of Chan1,'Es: Book [ 941 205 George Crumb: Black Ange/.s: 11,irtMn lmagesfrom,he Dark La11d: Excerp1s a) lmage 4: Devil -Mu,ic !Con"'cill f b) lm~ge 5: Dol'.-t.,_ .... ........... -•... ,.. .......,._.... c-... 1,.1 "'~"""""""-"~,111,~,.~ -....-~~,.• ....,. .....~-> ........_.-+,..,.__, . _,,. --··""o' Qlf""-----"·-·\ ___,............,_......., 1.-:ULOHI OONA. 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""' ............. i, _ •.,,...... _"'""".............i. u.................. _..... ................................. _,....,.,1.,. ~ iv•~...-,-_,.,,, •+ ?~lo),..._.., ...... 1.b,............ ta.1_ .. 11ryh11 .. ½,-Lonld..1<1., • ..,.1, "ti"..,......"'"•m!- ir.. ...................., ... 1w,«-11-lbf,nkk'...t,,....... ,. ••_,..,.. ... wi-.... ~.." .,...1 ...__ ,,..,_.,...,._,,..,......,..i .....,,.-... r-1,... .,,11,_. , ........... , ...n,,,j , _ .._.,., .. ....,,.,....._ ............ _,._#,1,-...,,... __.,. ,i..~ ..w EW ln Pe rformance sidebass lrace lhe careers of major performers. illustrating what ir was like to be a professional singer or instrumentalist from ancient times to the presem, and highlight issues relevam to performers today. including ornamentation. improvisation. historically informed performance, and bel canto. The coverage of performance practice has been greatly expanded tluoughout this new edition. • Compose r Biograph ies highJight composers· lives and works. • Mns ic in Con te~1: sidebars emphasize the importance of music in the daily life of peop le at eve1y levei of society, sbowing what they valued in it and how they produced and consumed il. SOCtALOAMCl ___ ... _,_.....,. ...,._ ____ __...,_.._,................ o.. ,.._.,, ................. __ .. __.... =~~:-_:.w,....,,u• 1 . -... 1 1 -.......... _ ... l......,,.M..,(IWl-'-1'•-- --··· .._ . --...,..----~........ _.._......... .. _i..w,_..., •• _. . . . .. loi.,nf.-......(l• ... ~ ( l o l , o f \ NHWI _..,_~!1.. ~ _ __ _,_ _._.,...,...__..... _....,i.._ _.__,~.,..... •;..,rvu'I ,_.., ...... .,,,.......,_,........,._,i, ......, ..... ....... ........, ."'""-"""'· ,.... ___. ~·...... ~ .,_,,... ...... , ..... . _ .. -11,....... _ . 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"""™""'-"'·"'•.... tr••<411,..,,1'1r-.. ~ ,11oa..,i,, ~ inu1 _ ...-·_~-______ ...____ ....__,. ...... ....,......,... ri. ....... ~"'"......- . , .., _ .... \ ............J ...,. ...... ~.,o...., ... .,,,.. .t...,J1111.-.1,_,,........~••,1 _, .............fl,-,1~-- ...- ___ _ _,J_ . . . ., . .._._ "'-·----...... .H_.,.._,.,_,.,._, """" ,.,. ...... ..,_..J .. ... --...."'" ..,.,..,__,..,_..._,n..,...........,.f ......................,..._.,....1,_,_a,..,..,.e-a ..._._,__ ............._.,""'..,_ ,,,.,._.,_,, •·'~"--"'" __ f"';,l""""·---~-l 1;,,.... ....1.,.......... .. -,1,........_,, 'J_ . . . , j a i . , . - ·.... .. .. ..-.....,.,..,-~ ............. _....,. ~ _., , . . _ . , _ _ _ i,,,. . J,C-V• n.-.,....i....1- j - · - . .........,,,,.Q,..-f.. _,..., ......... - .......... Md,....,,.o,tap- --J-"-~-.... ......,_.., ... -"""'...... ~ ,J,..,.,... _ ·...-....... - ... Jb .. _ . _...., ,.,_ .. ,....... """"-"'"t:>,it.r,J , i , , j_ _, . . . . . ".;............_,.. •.~i,,..._...._ -"" _,.. ____ ..,_... _.i,.i....,. , ,.___......, ....i-,........ - ....~ ..... ~ .. ..r,r.. J..... , . _ _ , ,_ _ _ kt _ _ --."::.' ::-.:.:~=--= .......... .... ,•,..•1•0f'PII lw.o.WW---,11!...,,_,.nr,,of.,,.n,__.,.. ..,1111.i......,..,_ -111'1,(IMII....W.fo,,,_.,.,_.. -l!n(.,.,,.u -t-.. . . .,. . . . , . .,.,.-i.,-""'- IJJ::ir....;::.,-. ,...._..,,....,. .._,._ ,,... ........ - • lnnovati ons sidebars-one for each part, plus one for the twenty-ftrst century- focus on key 1echnological or sociological innovalions that signjfJcantly changed the disseminatio11. performance, and consumption of music. • KeyTerms are highlighced in boldface itulic~ throughout anel are dennecl, for easy reference. io lhe Glossary al the back of lhe book. ............. _........._._..... _....... _ ...,•.uu....... ~ ~,.._•wJ- •....................,_ ...,,iw..,,. . . .............i .,._,._. ...,.,.._.,.'",,.... ..................... _ _........., ......... .t ...,. ......L.M_.....__ ,.,. _.,,""""_, __.,_ ....................., ....._.,... ...... ...... obr-......... 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V · - - -...- .J ......~ _ . .... _ .............. _ ... _ • •jw - ' • .._, .. , ..,1,1o ~ ___ ..... ... ........ ___ ...., ... ..,~.--......---.....,..-.....,_ •"'----------~ ""'- i...,.,.. "dtll1•J ~-,1,.J '-J • --.1 ....... tUMr,......"'l..._.....t....... "..... ..-.w.- ,.,........114 , _ ......... "'· ..~"-·•·· ~J-,,.w1....._ .,...... ......·"•ODOJ..,....... .......__.. ___ o,.,,,_......,.., ...,.,. ... __..,.. .,.,.~__,o.i,..,e,.,. w...-...J_._'-•"-..ffl- ..... - (-""'"'' "1 -·"'"''' ' '-~•~W 1-v ,-L..~W t4 1 • • 1 1 'o • 1 .. .,............ --""*' ""'"' ___ ,..,.,,h._~ .,,_.. ............. ..~....., "'-·- °'""'"'"'· -........ --o-,""'"""Jf)"'..... r,d..._... ........... -""'--'~......... ...-" ----1,oq . .-~. .,-~9__.. -.-....-._ ........,_ ...... _,..,......,.J'-"'-..... N-.l>• , ~-.i.._..,;,.._,-.wt,.... "'""'-~"'._.""',...- __ ...,.,_., -n-•"-,,,.1M..._.(,_.;. ~ ....... a.,..,1 '••• •n" lu 1.1 • ., • ., ...,._._J"-_......, ..............,....,,......_,.,,,_..._~ _..,"'"" _._..,.t,-.i-,1.., "-.,tv,u~ • Source Read ings, with new reaclings in this eclilion, offer pilhy anel colorful excerpts from writings by people at thc center of the s10ry, allowingyou to hear di rectly l'rom the composers, perfon ners, and patrons in their ownworcls. llh ......................._l"'".,"f'"""-11 -,ll.o...,M'lol-,.,._.l!~'-!IMJ>C,('1<'1" W.loet!.Wu.kl-t...tk-l s.-.. k-, .................. J.,..;--... .... 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A, -ao\'.._ (Jn-•oV't'...,. ..,,.~•11 ,,.,~•1<1111U•t... n(llk'f>"I!: C-u. ...........-,.. ..,~ ::.~ :.~.!!:~~Z:.i:t=SÊ:~i~ _,.. 1 - .... ic.., _....-..,.., ....__..1r,...,....,. . ~,...,..""'~""'""-' "'""-'·"··-····· ... ··-·-··'~ •..'"" .,.,..._..,.,.~ .........,....-,:1., ...,.1.. ......... ..,..,.,,,,., ~ , 11m c--,, ........ .., , -.... - -..., ..., -••- .. .-1 ... ,,~.... ,11,,u_et_.J.-111lf\l•b)•bet'-'.boe-t11•1M:un,i, , .... 1o,:,.,1 .. ~ ·:º~"-~ ~ !la"''"º""'6.,__...........,.tl,o,_ "'"'"'"'·º""' <>-+ .............,-••- ...........':' ... ..,. ........ r..:.i,,-"'-~11•8''>••""'"11o-•""'•-•" ............ to..,t-TI,r,Lo,1............................ -1~ - ..~.,!lord.,dlrlh'l.""-1,1.,,uth..,.••• lorwi11ocn11<=-•.l•,__...,.__....,..,ln•1•,i-..,I•. .,..,.._._.,.._.. ,.,..,,,,..i,.._,,.,Wl6, ..,...... ..,u,.,._ n,,i....;1,.,o,...,_r.ri.-w.·-~•.,..,....,~-,11.in ,..~o 111t~(a, 1.,ec, .._,..,_,... ..*"'.... .......,,,. n..1,~,... ,. ...., .... ,-i,....,111-.-.o.•1111-..-• ...,. . . . . ....,,,. ....,,.., n.... ,..,.,....... ......... -.a.·-••b.•,f1hr1...ic,..,.11,.. ,*"'..f\•.. v111.,,_1..,11o,111•• •, ..........t1.... ,.....,.....,.........,........., •11•-"'"•.._.,••c..-....,./•..,....,_..,"'-•lu........,.~ ,,r,vn_, •.., ___.. •• ,_,.,..., ... ...,,........ ,1.,• . , _JO~UM).................. h 1~ ....... • .,u, i-;,.M,,,,r..~ ,__o,, ·:::.,r..•-·.......- •-.!li• 1i.«i....,,•- ,,_ ~~::·:;à-:,~.:..,."";:;·:,;:-,;.i:;;:."'~-:' _ ··"""'-""'*"'~-"""" ........_.._,_... ,r,..c, .,,.,__11,,1.,,_,_,,,...,..,,..,.,11.o•••,.,·• ·--·-·.. ,..,,__"'"'"·- .......... ;:;~~-=:-:::-.::!::.::..'7.:~':...-:::; •tl,.pA,.. 1to1 . .-tt...i•lwt,,Mrtl.i, 'ttr,,ftb11hh1I01 .... .•...•,.....,.ooa.t,..,. .... ................ .. ..._.,...,N,,.<:n("... t.-•h•,,..1N.,,, ... ..._,11..c, •-•1o•M1•,...,...,...... 11o•-u11-•,. 1,1,.............. durú,••,_ lk ........ •\.lf111awt1Ç..,1w1o(;olo111!.,i,PN ....t1w (~,.......................................... ...,........... l ..t~....."t ~ • De tailed Oiagrams clarify forms of musical works anel ge nres to help you grasp some o r lhe essential slructures of music. • Cross- references to the accon1panyi ng - ---1- _, ......,n,,..•• _,.,k·-~-1,..,.-..... .....,.......... .........,...................v""......,~tllt--u~ ~ AI<._..,_ ...., l.n11 •....,.~~ ...1-1w,.. ...,...,,M.,.o,•11•••-'""'..-'•--• 1t"'-<> .......... p1a,,r ... ,... ,o............Pt....... ut"f - " · f"'lttn. . ... ... USING THE ANTHOLOGY AND RECORDINGS :::::.. =:.i:- ===- ~··· .......... -..,i•• .....,_,..._.... • Vivi.d Artwork and Photoi,'l"aphs throughout provide essential cultural context and highligbt impo1ian t ideas, arcbitecture, people, and events. including portraits of many of the composers and performers discussed. "'"_"',.. !""'d•"f•lllf'••"'to....,.,.. -..w i.._... ...........1ul"'1 ....., .. , ... ,......_,. ... t1t...i... 1 -.....,.,...,. ttfl'I 11,,.. ,........,• ..,. .._ ~ , . ....,....., . . _, ....~.....- ...,. . • Fou r -Co lor MaaJs establish a location and contex l for lhe m usical even ls and works. r-....,7r--==-- ......... " ............,r •....,.._ ....._ .... i;...,,,.,-"".....- ~ . ~ ' EW StreamJined T imelines in every chapter set the music in a social and historical context, J'acilitating a clear view of the interrelationshi p between musical m d his torical events-of what happened when. ~-'*'- .. 11ria.r .... u1..,..••t...,1o:,y.1w,,i.••""'" ...,.__,._ ·"'"" ck..-............ - " . k,o .t,,....,........ ~11tl1Mt.__t\11Gi0!0"111i(IM....,,1,«•1tcot1J1b1111M.t ,..... "'C..... •llh~-..w._,,- .,__ _......,.;...-..... , .._..,,,,_,..,.,._,•... LU.....t ..... - • For Ftu-ther Reading, collected ai the back of tl1e book, provides an up-to-date bibliography corresponding to each part. chapter. and section . .... c,,_,,.....,..hur•"'""..,.;lt...WTnU ,..,._,,...,..,*"IW•lw~ 1b•l•t1•trt111flllt-~lr•\ho• .. • ....... i,...-Jf...aO...., tnd...i• "1t,l"-,n,ll•llf f('tí,)••'- ...U•. ...111o• .,.i.-oi\Ul,d ... r..- """'-•dd.............. ,........... _.,_.._ ........................ .... .,._.,._ ....... .,, .,........ .... _,,............... , . . . t i - ..t,I,. ,,~, the marE,rins ind icate which pieces are in the Concisc edition of this text (ali of them are in the PuJI version). lry•liohl•1ll111u•,o""flh,,_, fl••••11•.,..,.ll,.~l... •ll"I"'"' _._..,,.., ...,,_,,..., • .,,_r,_,,.,..r-p1o-,,. .-1,._,,-.,..,._ lln,.,,.. ,,--,1!•• ~•f'Ollot-•"'~'..._ ...... ...,~ •• -.jN(,11.11,J or•-.i ... .................l°"""' ,i..n.....-,1tfo•-•Ul r.;..- .. "'""' ....... 1,11 J.,,,. 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XXXV - -*t""' -·____.o-,........ _!.._ ............ .i..-... . . , -................,..,,_,.,...... ,..,. ....... ................ ..,_... .................,........ ,.<...,........ _ --'•rd>llll...,_.,..,.,..,.,.. ..__.., • .,.,,_..,,. rnw,...., ....,,., ..........._.~....,...._ ,.,. ,~.... ,i.,.11(_... ......,... _,.........,. ..... ,...._ .. ....... .............. n,..... 1•i • .,,.....a ..... i..r1,...,;,h•nl"'•-.,.t .,_.._..,.o«'llt ••'--"'. ..........,...... . ..,4,. ............ ,.... ,_.............. __,..... !l<'IMtt•l1>0,nol•t1fl•1•1'•••ic.1...,lkd•tU"4 •..,,,,1-~•.. ••-i-•lri,• ..•..••-h<• -.-;.,,:;;:,,;;:?;;:~ ..·'·;;; .:.;;;";;:;~~,; - ;;'"';;,,.;;, ·.~ ;;; ,_ ::; '"::: '""i:i";,;-;;~;;,.":;",;"'~=··:ii•:if."'':f''- ----' =:;.=:~E[~;:~;~;:,;::~.:·:· =;:;·;;;.--;,;:~~::;;;;;;,::·,;;::.:;•·;::;::.,~.,;,;,;:.:,.:-; ;I...:.:~;;~:;,::~..;;·!°:i::~~;z,;-:;~=;; '.27!~~~!:;~7~...:~:!'~f.Z--1'.:.7~ ~:':.":,·t· Although this book sta nds on its own as a narrative history. your understanding will be enriched by using it in tanclem with the accompanying anthology and recordings: • Available in three spiral-bound volumes, the Norto11A.J1tl1ologyof Western Musie (NAWM). Seventh Edition. by J. Peter Burkholder and Claude V. Palisca (Volume l: Ancient to BaroqueNolwne 2: Classic to RomanticNolume 3 : The Twentieth Century and After), provid es a comprehensive collection of scores. illustrating the most signincant musical lTends, geni-es, and national schools in the \Ves tem world from anticruity to tbe present. Thirty - nine pieces are new to tbis edi tion, including nve selections from the past nfteen years, offering unprecedented access to rece nt music. • Each piece is followed by commentary that relates the p iece·s orígins; describes ils form, contents, and important stylislic traits; and addresses issues or lhe edition and performance when appropriate. ln addition , ali foreign-language texts are accompanied by Englisb translat1ons. • The record ings that accompany the anthology include outstanding performances of the enti.re NAWM repertoire by some of the best Pre face t.o fil e Ninfh Ediiiou musicians and ensembles working today (see below, pp. xio.-viii-xxxix). A variety of formats-iocluding streaming and MP3 d ises-are now available. Fifty- six performances are new to this edilion. USING TOTAL ACCESS The new Total Access program unlocks a fu.11 suite of media resources with every new book, including: • Strea:ming recordfoh'S of the entire NortonAnthologyofWestem Music repertoire. • Stunning Metropoli tan Opera vid eo of scenes from selected operas. • An interaclive e book thal allows you lo lake notes. highlight. and listen to audio examples at the click of a mouse. • NEW lis te níngqurLzes by Jessie Fillerup and Joanna Love. X'XX'Vii xxxviíi l're face t.o th e Ninth Edilio n ABOUT THE ANTHOLOGY AND RECORD INGS Responding to extensive feedback from instructors and students. 1 have expanded the repertoire in the Seventh Edition of the NortonAnthologyofWestem Mi,sic from 205 to 220 works, with new works from the late Middle Ages by Petn1s de Cruce, Philippe de Viny. Gui ll aume de Machaut. and Prancesco Landiní: from the Renaissance by Josquin Desprez. Marchetto Cara. Nico las Gombert, Thomas Tallis, Anthony Holborne, and William Byrd; from the seventeenth and eighteenth centuries by Jean -Baptiste Lully. Georg Phfüpp Telemann, Johann Sebastian Bach. Giovanni Battista Pergolesi, anel Joseph Haydn; from the nineteenth centmy by Franz Schubert, Felix Mendelssohn, Fanny Mendelssohn Hensel. Anton Brnckner. and Gabriel fauré: from lhe twentierh century by Richa rd Strauss, Maurice Ravel, Edgard Varese, Alban Berg. Km1 Weill. Heitor Villa -Lobos, Silvestre Revueltas. Leonard Bernstein. and Vincent Persichetti; and l'rom the twenty -first century by Elliott Carter, Kaija Saariaho. Osvaldo Colijov. John Adams, and Jennifer Higdon. The anthology empltasizes complete works or movements. Each work selected is a good teaching píece-representatíve of its period, genre, and Mm posr,i·. Majorr.ompoi

Author J. Peter Burkholder Isbn 9780393918298 File size 203MB Year 2014 Pages 1200 Language English File format PDF Category Art Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare The definitive history of Western music, now with Total Access. Combining current scholarship with cutting-edge pedagogy, the Ninth Edition of A History of Western Music is the text that students and professors have trusted for generations. Because listening is central to music history, the new Total Access program provides a full suite of media resources?including an ebook and premium streaming recordings of the entire Norton Anthology of Western Music repertoire?with every new text. Combining thoughtful revisions?particularly to chapters on the twentieth and twenty-first centuries?with exceptional media resources, A History of Western Music provides all the resources that students need in a text that will last a lifetime.     Download (203MB) Modeling Ethnomusicology Chinese Landscape Painting as Western Art History Supplanting The Postmodern: An Anthology Of Writings On The Arts And Culture Of The Early 21st Century Theory in Africa, Africa in Theory: Locating Meaning in Archaeology Looking at Movies: An Introduction to Film, 3 edition Load more posts

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