Listening to Music Parameters

Foreword to Students and Instructors

UNIT ONE ELEMENTS OF MUSIC I
Chapter 1 America’s Own Musical Styles: Jazz
Chapter 2 Musical and Grammatical Goals of Writing
Chapter 3 Three Basic Music Parameters—a. Rhythm
Chapter 4 Three Basic Music Parameters—b. Melody
Chapter 5 Three Basic Music Parameters—c. Harmony
Chapter 6 Texture
Chapter 7 Dynamics
Chapter 8 Keyboard Half Steps, Whole Steps, and Scales
Chapter 9 Form
Chapter 10 America’s Own Musical Styles: Country

UNIT TWO ELEMENTS OF MUSIC II
Chapter 11 Timbre Part I: Woodwind and Brass Orchestral Colors
Chapter 12 Timbre Part II: Percussion and String Orchestral Colors
Chapter 13 Variety in Tempo and Beat
Chapter 14 Timbre Part III: Vocal Ranges and Choral Colors
Chapter 15 Timbre Part IV: Keyboard and Electronic Colors
Chapter 16 Parameters, an Endless List
Chapter 17 Style Periods
Chapter 18 Principles and Methodologies in Writing
Chapter 19 Writing Concert Reports
Chapter 20 America’s Own Musical Styles: Rock
Chapter 21 Film and Light Concert Music

UNIT THREE MIDDLE AGES THROUGH CLASSICAL: 450–1820
Chapter 22 Middle Ages
Chapter 23 Monophonic Song
Chapter 24 Renaissance
Chapter 25 From Renaissance to Baroque
Chapter 26 The Middle Baroque: Dance, Theatre, and String Music
Chapter 27 Johann Sebastian Bach and Counterpoint
Chapter 28 George Frideric Handel and the English Oratorio
Chapter 29 Pre-Classical Music, 1730–1760
Chapter 30 Franz Joseph Haydn, New Genres: Symphony and String Quartet
Chapter 31 Wolfgang Amadeus Mozart, Prolifi c Prodigy
Chapter 32 Beethoven Beginnings: Imitation and Independence Periods

UNIT FOUR ROMANTICISM PART I
Chapter 33 Beethoven New Genres and Forms: Introspection Period
Chapter 34 Schubert and the Art Song
Chapter 35 Weber Opera and Orchestral Works
Chapter 36 Schumann Character Piece and Music Criticism
Chapter 37 Berlioz and the Program Symphony
Chapter 38 Paganini and the Role of Virtuosity
Chapter 39 Liszt and the Symphonic Poem
Chapter 40 Wagner and the Music Drama
Chapter 41 Donizetti to Verdi: Romantic Opera
Chapter 42 Chopin and Piano Miniatures
Chapter 43 Mendelssohn and Brahms: Innovations in Old Genres
Chapter 44 Puccini and the Italian Pinnacle of Verismo Opera
Chapter 45 Johann Strauss Jr. and the Viennese Waltz, Ländler

UNIT FIVE ROMANTICISM PART II THROUGH TWENTIETH CENTURY AND BEYOND
Chapter 46 Smetana and Dvoˇrák, Nationalism in Orchestral Genres
Chapter 47 The “Mighty Five” Russian Nationalism in Opera and Orchestral Genres
Chapter 48 Tchaikovsky: Tradition, Ballets, and Suites
Chapter 49 Saint-Saëns and the French Tradition
Chapter 50 Scandinavian Pockets of Nationalism: Grieg and Sibelius
Chapter 51 Rachmaninoff and Russian Romanticism in Traditional Genres
Chapter 52 Mahler and Song, Song Cycle, and Symphony
Chapter 53 Richard Strauss and Symphonic Poem Virtuosity
Chapter 54 Debussy and Ravel, French Avant-Garde Impressionism
Chapter 55 Arnold Schoenberg and the Second Viennese School
Chapter 56 Stravinsky and the Primitivism Ballets
Chapter 57 Prokofiev and Shostakovich: Russian Avant-Garde and the Soviet Influence
Chapter 58 New Directions in Twentieth-Century America and Europe

Works Cited
Postlude
Dates
Glossary
Index