Essentials in Music Appreciation
Edition: 2
Copyright: 2022
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Listening is at the very foundation of almost every activity in which a person might engage each and every day. We rely heavily on our sense of hearing to guide us through different activities—from communication to enjoying different types of entertainment. It is your sense of hearing that will assist you in gaining, at first, a basic understanding of what you will find contained in this book, with the eventual goal of a deeper understanding of music and how it has and continues to contribute to our history, society, and culture.
The goal of this book is to assist the reader in gaining a better understanding of the various compositions through discussions and listening experiences. The discussions found here are meant to give you an intro duction to these works, and give insight to their contents, as well as their various styles and qualities – the actual processes that the composers went through to create each of these amazing works of art.
In order to understand the discussions, one must be familiar with the various musical concepts and vocabulary that will be used to gain access to a better understanding of the contents of this book. Simply using the terminology in context will make you acutely aware of how the musical process works.
The first several chapters of this book are devoted to the basic fundamentals of music. Chapter Two asks the reader to consider an important question: What is Music? Chapter Two also introduces the reader to one of the most basic aspects of music – how it is organized over the course of time – rhythm; with the two important components of rhythm being meter and tempo. Chapter three delves further into the basic features of musical sound through an explanation and examination of the concepts of pitch and dynamics. Chapter Four is an exploration of the many different instruments and the different ensembles that they make up. Along with a study of the instruments, the concept of tone color will be examined. Chapter Five deals with the many di erent aspects of musical notation, such as scales, intervals, and melody. Chapter Six covers harmony, texture, tonality, and mode, as well as an in-depth look at musical form and style – how music is constructed and how the different aspects of construction influence the various styles
Once you have a general understanding of the various processes and workings of music, you will then in the remaining chapters, look at a great deal of information that will give you the foundation for an understanding of its development over the course of history, as well as how it was influenced by so many other elements, such as societal norms and behaviors, the various other art forms, architecture, and technology. A rather common misconception of many is that each of these things exists in a vacuum; the purpose of this book is to illuminate how each of these important aspects of our lives, including music, are inuenced by one another, and are also interactive
UNIT I
CHAPTER 1: Introduction
CHAPTER 2: Musical Elements – Part I Rhythm, Meter, and Tempo
Rhythm
Beat and Accent
Meter
Rhythm and Meter Working Together
Syncopation
Tempo
CHAPTER 3: Musical Elements – Part II Pitch, Dynamics, and Tone Color
Pitch
Dynamics
Tone Color
CHAPTER 4: Musical Instruments and Ensembles
Voice
Strings
Orchestral Strings
Other Stringed Instruments
Woodwind Instruments
Flute Family
Clarinet
Oboe
Bassoon
Saxophone
Brass Instruments
Trumpet
French Horn
Trombone
Tuba
Percussion Instruments
Set-Pitched Percussion Instruments
Glockenspiel
Xylophone
Marimba
Vibraphone
Chimes
Variable-Pitched Percussion Instruments
Timpani
Non-Pitched Percussion Instruments
Triangle
Cymbals
Keyboard Instruments
Piano
Harpsichord
Organ
Ensembles
Orchestra
Concert Band
Jazz Ensemble
Marching Band
Choir
The Young Person’s Guide to the Orchestra, Op. 34 (1946), by Benjamin Britten
Listening Exercise
Theme
Woodwinds
Strings
Brass
Percussion
Final Section
CHAPTER 5: Musical Notation
Rhythm and Note Values
Rests
Meter
Scales and Intervals
Octave
Diatonic Scale
Chromatic Scale
Half Steps and Whole Steps
Melody
Tunes
Motives and Themes
Elements of Melody and Themes
CHAPTER 6: Harmony, Texture, Key, and Mode, and Musical Form
Harmony
Consonance and Dissonance
Texture
Monophonic Texture
Polyphonic Texture
Imitation
Homophonic Texture
Key and Mode
Form
Repetition
Contrast
Variation
Musical Forms
Three-Part Form (Ternary – A B A)
Two-Part Form (Binary– A B)
Musical Styles
UNIT II
CHAPTER 7: The Medieval Era – The Middle Ages
Church Music
Liturgy and the Mass
Gregorian Chant
Characteristics of Gregorian Chant
Gregorian Reciting Tone and Gregorian Melody
In paradisum, Anonymous, (c. ninth century)
CHAPTER 8: The Renaissance
New Approaches
Renaissance Music
Music of the Early Renaissance
Characteristics
Words
Texture
Melody and Rhythm
Sacred Music
Josquin Desprez
Pange lingua Mass (1510)
The Renaissance Motet
Expressive Music
Music of the Late Renaissance
Pope Marcellus Mass
Gloria
Other Vocal Music Genres
Motet
The Italian Madrigal
The English Madrigal
Thomas Weelkes (c. 1575 – 1623), Madrigal, “As Vesta Was from Latmos Hill Descending” (1601)
Instrumental Music of the Renaissance
Renaissance Dances
Anonymous, Galliard, “Daphne” (sixteenth century)
Anonymous, “Kemp’s Jig” (sixteenth century)
UNIT III
CHAPTER 9: The Baroque
Baroque Music
Baroque Musical Characteristics
Rhythm
Melody
Dynamics
Texture
Basso Continuo
Text Painting
Opera
Opera Singers
Musical Components of Opera
Libretto
Recitative
Aria
Claudio Monteverdi (1567 – 1643)
Orfeo (Orpheus, 1607)
Henry Purcell (1659 – 1695)
Dido and Aeneas (1689)
Other Vocal Music of the Baroque
Oratorio
The Church Chorale
The Church Contata
Instrumental Music of the Early Baroque
Arcangelo Corelli: Trio Sonata in A Minor, Op.3, No. 10 (1689)
Concerto and Concerto Grosso
Antonio Vivaldi (1678 – 1741)
La Primavera (Spring), Concerto for Violin and String Orchestra Op. 8, No. 1, from The Four Seasons (1725)
Johann Sebastian Bach (1685 – 1750)
Brandenburg Concerto No. 5, for Flute, Violin, Harpsichord, and Orchestra
Fugue
Exposition
Compositional Devices Used in Fugues
Baroque Dances
CHAPTER 10: The Classical Period
The Enlightenment
Other Art Forms in the Classical Period
Concerts during the Classical Period
The Classical Style (1750 – 1820)
Characteristics of the Classical Style
Contrast of Mood
Rhythm
Dynamics
Tone Color
Melody
Texture
Forms and Genres
Repetition
Forms and Genres in the Classical Era
The Symphony
Symphony Movements
Sonata Form
Exposition
Development
Recapitulation
Classical Variation Form
Minuet Form - A Classical Dance Form
Rondo Form
Other Genres of the Classical Era
Sonata
The Concerto in the Classical Period
String Quartet
Opera in the Classical Era
UNIT IV
CHAPTER 11: The Romantic Period
The Transition from the Classical Period into the Romantic Period
III. Allegro
IV. Allegro
The Third Period
Romanticism
Individuality, Democracy, Personal Freedom, and Revolt
Interest in the Supernatural and Spiritual
Interest in Past History and Mythology
Interest in Nature
Characteristics of Romantic Music
Style
Expressive Melody
Exciting Harmony
Dynamics and Tempo
Tone Color
Program Music
Romantic Music and Form
From “Mini” to “Mega”
The Miniature
The Mega Composition
Compositional Unity
Romantic Genres and Composers
The Art Song
The Song Cycle
Franz Schubert (1797 – 1828)
The Short Piano Piece
Carnaval
Estrella
Reconnaissance
Frédéric Chopin (1810 – 1849)
Nocturne in E Flat Major, Op. 9, No. 2
Franz Liszt (1811 – 1886)
Felix Mendelssohn (1809 – 1847)
Program Music
Hector Berlioz (1803 – 1869)
Fantastic Symphony, Fifth Movement: Dream of a Witches’ Sabbath
Romantic Opera
Giuseppe Verdi (1813 – 1901)
Rigoletto (1851)
The Music Dramas of Richard Wagner (1813 – 1883)
Leitmotivs
The Nibelung’s Ring (1848 – 1874)
Giacomo Puccini (1858 – 1924)
Nationalism and Exoticism in the Romantic Period
The Mighty Five
Modest Mussorgsky, Pictures at an Exhibition (1874)
Promenade I
The Great Gate at Kiev
Johannes Brahms (1833 – 1897) and Romantic Classicism
Gustav Mahler (1860 – 1911)
CHAPTER 12: The Twentieth Century and Beyond
General Characteristics of the Twentieth Century
Modernism
Impressionism
Claude Debussy, Clouds, from Tree Nocturnes (1889)
Igor Stravinsky and Neoclassicism
Expressionism
Arnold Schoenberg (1874 – 1951)
Atonality
Pierrot Lunaire (1912)
Schoenberg’s Twelve-Tone System
Alban Berg (1885 – 1935) and Wozzeck, 1925
Anton Webern (1883 – 1945)
Five Pieces for Orchestra, Op. 10 (1911 – 1913)
UNIT V
CHAPTER 13: Modernism after World War I
Maurice Ravel
Modernism in America
George Gershwin (1898 – 1937)
Rhapsody in Blue (1924)
Aaron Copland (1900 – 1990)
Appalachian Spring (1943 – 1944)
Music after World War II
Electronic Music
Edgard Varèse (1883 – 1965), Poeme Electronique (1958)
György Ligeti (1923 – 2006) Lux aeterna (1966)
John Cage (1912 – 1992), 4’33” (1952)
John Adams (1947 – ), Short Ride in a Fast Machine (1986)
CHAPTER 14: The Music of America
Jazz
Scott Joplin (1868 – 1917) and Ragtime
The Blues
Jazz in New Orleans
Swing
Bebop
The American Musical
Leonard Bernstein (1918 – 1990) and West Side Story (1957)
Rock and Roll Music
The British Invasion