56797_FM_ptg01.indd 3 29/08/14 3:38 PM The Essential Listening to Music 2e Craig Wright Yale University Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 1 29/08/14 3:38 PM This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. 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May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 2 29/08/14 3:38 PM For Clark Baxter—innovator, publisher, and valued friend Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 3 29/08/14 3:38 PM BBrriieeff CCoonntteennttss 1 The Power of Music 1 2 Rhythm, Melody, and Harmony 15 3 Color, Texture, and Form 30 4 Music in the Middle Ages and Renaissance 48 5 Baroque Art and Music 67 6 Late Baroque Music: Bach and Handel 86 7 Introduction to the Classical Style: Haydn and Mozart 101 8 Classical Forms 115 9 Classical Genres 133 10 Beethoven: Bridge to Romanticism 151 11 Romanticism and Romantic Chamber Music 167 12 Romantic Orchestral Music 184 13 Romantic Opera 198 14 Late Romantic Orchestral Music 214 15 European Impressionism and Modernism 226 16 American Modernism and Postmodernism 245 Epilogue The Enduring Power of Western Classical Music 263 IV Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 4 29/08/14 3:38 PM CCoonntteennttss About the Author xii Listening Cue The Basics of Rhythm 19 Preface xiii Melody 19 Acknowledgments xix Melodic Notation 21 Scales, Modes, Tonality, and Key 23 1 The Power of Music 1 Harmony 25 Music, the Ear, and the Brain 3 Building Harmony with Chords 26 Our Musical Template: Why We Like Consonance and Dissonance 27 What We Like 4 Listening Cue Listening to Whose Music? 5 Consonance and Dissonance; Cadences 27 Popular or Classical? 6 Hearing the Harmony 27 Popular and Classical Music Compared 6 Listening Cue How Does Classical Music Work? 7 Harmony (Chord Changes) 28 Genres and Venues of Classical Music 7 Styles of Classical Music 8 3 Color, Texture, and Form 30 The Language of Classical Music 9 Color 31 Where and How to Listen 9 The Voice 31 Live in Concert 10 Musical Instruments 32 Writing a Concert Report 11 Strings 32 Getting Started: No Previous Experience Woodwinds 34 Required 12 Listening Cue Take the Classical Music Challenge 12 Instruments of the Orchestra: Strings 34 Two Classical Favorites 12 Listening Cue Instruments of the Orchestra: Woodwinds 35 Listening Cue Ludwig van Beethoven, Symphony No. 5 in C minor Brasses 36 (1808) 13 Percussion 36 Listening Cue Richard Strauss, Also sprach Zarathustra (1896) 13 Listening Cue Instruments of the Orchestra: Brasses 37 Listening Cue 2 Rhythm, Melody, and Instruments of the Orchestra: Percussion 37 Harmony 15 Keyboard Instruments 38 Rhythm 16 The Symphony Orchestra 39 Rhythmic Notation 17 Texture 40 V Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 5 29/08/14 3:38 PM Brief Contents Listening Cue Music at the Court 54 George Frideric Handel, Messiah, “Hallelujah” chorus (1741) 42 Troubadours and Trouvères 54 Form 42 Listening Cue Countess of Dia, A chantar m’er (c. 1175) 55 Strophic Form 43 Medieval Musical Instruments 55 Listening Cue Johannes Brahms, Wiegenlied (Lullaby; 1868) 43 Music in the Renaissance, 1450–1600 56 Theme and Variations 44 Josquin Desprez (c. 1455–1521) Listening Cue Wolfgang Amadeus Mozart, Variations on “Twinkle, and the Renaissance Motet 58 Twinkle, Little Star” (c. 1781) 44 Listening Cue Binary Form 45 Josquin Desprez, Ave Maria (c. 1485) 61 Ternary Form 45 The Counter-Reformation and Palestrina (1525–1594) 62 Listening Cue Joseph Haydn, Symphony No. 94, the “Surprise” Popular Music in the Renaissance 62 (1792) 46 Listening Cue Listening Cue Jacques Moderne, publisher, Musique de joye (c. 1550), Peter Tchaikovsky, The Nutcracker, “Dance of the Reed Pavane and galliard 64 Pipes” (1891) 46 Listening Cue Rondo Form 46 Thomas Weelkes, As Vesta Was from Latmos Hill Descending (1601) 66 Listening Cue Jean-Joseph Mouret, Rondeau from Suite de symphonies (1729) 47 5 Baroque Art and Music 67 4 Music in the Middle Ages Baroque Architecture and Music 68 and Renaissance Baroque Painting and Music 69 48 Characteristics of Baroque Music 70 Music in the Monastery 49 Expressive Melody 70 The Gregorian Chant of Hildegard Rock-Solid Harmony 71 of Bingen (1098–1179) 50 A Baroque Example: Monody by Barbara Listening Cue Hildegard of Bingen, O rubor sanguinis (c. 1150) 51 Strozzi 71 Music in the Cathedral 51 Listening Cue Barbara Strozzi, L’amante segreto (1651), “Voglio Notre Dame of Reims 52 morire,” Part 1 73 Machaut: Messe de Nostre Dame 52 Early Baroque Opera 73 Listening Cue An Opera in English: Henry Purcell’s Dido Guillaume de Machaut, Kyrie of Messe de Nostre and Aeneas (1689) 75 Dame (c. 1360) 54 VI contents Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 6 29/08/14 3:38 PM Contents Listening Cue Listening Cue Henry Purcell, Dido and Aeneas (1689), “Thy hand, George Frideric Handel, Messiah, “Hallelujah” chorus Belinda” and “When I am laid in earth” 77 (1741) 99 Middle Baroque Instrumental Music: Three Favorites 78 7 Introduction to the Classical Style: The Baroque Orchestra 78 Haydn and Mozart 101 Mouret and Trumpet Music for the French Court 79 The Enlightenment 103 Listening Cue Jean-Joseph Mouret, Rondeau from Suite de The Democratization of Classical Music and the symphonies (1729) 80 Rise of “For Profit” Concerts 103 Pachelbel and His Canon 80 Popular Opera Takes Center Stage 104 Listening Cue The Advent of the Piano 105 Johann Pachelbel, Canon in D major (c. 1690) 81 Elements of Classical Style 105 Vivaldi and the Baroque Concerto 81 Melody 106 Listening Cue Harmony 106 Antonio Vivaldi, “Spring” Concerto (early 1700s), first movement 84 Rhythm 107 Texture 107 6 Late Baroque Music: Bach The Dynamic Mood of Classical Music 108 and Handel 86 Vienna: Home to Classical Composers 108 Johann Sebastian Bach (1685–1750) 87 Franz Joseph Haydn (1732–1809) 109 Fugue 88 Wolfgang Amadeus Mozart (1756–1791) 111 Organ Fugue in G minor (c. 1710) 88 Listening Cue 8 Classical Forms 115 Johann Sebastian Bach, Organ Fugue in G minor (c. 1710) 90 Form, Mood, and the Listener’s Expectations 116 The Church Cantata 90 Ternary Form 117 Wachet auf, ruft uns die Stimme (Awake, a Voice Minuet and Trio in Ternary Form 117 Is Calling, 1731) 91 Listening Cue Wolfgang Amadeus Mozart, Eine kleine Nachtmusik Listening Cue Johann Sebastian Bach, Wachet auf, ruft uns die (A Little Night Music, 1787), third movement 119 Stimme (1731), fourth movement 93 Sonata–Allegro Form 120 George Frideric Handel (1685–1759) 94 The Shape of Sonata–Allegro Form 120 Handel and Opera 95 Hearing Sonata–Allegro Form 122 Handel and Oratorio 96 Listening Cue Messiah (1741) 97 Wolfgang Amadeus Mozart, Eine kleine Nachtmusik (1787), first movement 124 contents VII Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 7 29/08/14 3:38 PM Brief Contents Theme and Variations 124 The Sonata 142 Mozart: Variations on “Twinkle, Twinkle, The Concerto 143 Little Star” (c. 1781) 125 Mozart: Piano Concerto in C major (1785), K. 467, Listening Cue Second Movement (Andante) 144 Wolfgang Amadeus Mozart, Variations on “Twinkle, Twinkle, Little Star” 127 Listening Cue Wolfgang Amadeus Mozart, Piano Concerto in C major Haydn: Symphony No. 94 (the “Surprise” (1786), K. 467, second movement 145 Symphony, 1791), Second Movement 127 Vocal Music: Classical Opera 145 Listening Cue Mozart and Opera 146 Franz Joseph Haydn, Symphony No. 94, the “Surprise” Symphony (1791), second movement 130 Listening Cue Wolfgang Amadeus Mozart, Don Giovanni (1787), Rondo Form 130 K. 527, Act I, Scene 1 148 Haydn: Trumpet Concerto in E major (1796), ♭ Listening Cue Third Movement (Finale) 131 Wolfgang Amadeus Mozart, Don Giovanni (1787), K. 527, Act I, Scene 7 150 Listening Cue Franz Joseph Haydn, Trumpet Concerto in E major (1796), third movement 131 ♭ 10 Beethoven: Bridge to Romanticism 9 Classical Genres 151 133 Beethoven’s Music 152 The Symphony and the Symphony Orchestra 134 The Early Years (1770–1802) 153 The Classical Symphony Orchestra 135 Piano Sonata, Opus 13, the “Pathétique” Sonata (1799) 154 Mozart: Symphony No. 40 in G minor (1788), K. 550 136 Listening Cue Ludwig van Beethoven, Piano Sonata, Opus 13, the First Movement (Molto Allegro) 136 “Pathétique” Sonata (1799), first movement 156 Listening Cue Beethoven Loses His Hearing 157 Wolfgang Amadeus Mozart, Symphony No. 40 in G minor (1788), K. 550, first movement 138 The “Heroic” Period (1803–1813) 157 Second Movement (Andante) 139 Symphony No. 3 in E major (“Eroica”) ♭ Third Movement (Menuetto: Allegretto) 139 (1803) 158 Fourth Movement (Allegro Assai) 139 Symphony No. 5 in C minor (1808) 158 The String Quartet 139 Listening Cue Ludwig van Beethoven, Symphony No. 5 in C minor Haydn: Opus 76, No. 3, The “Emperor” (1808), Opus 67, first movement 161 Quartet (1797) 140 The Final Years (1814–1827) 163 Listening Cue Symphony No. 9 in D minor (1824), Franz Joseph Haydn, String Quartet, Opus 76, No. 3, the “Emperor” Quartet (1797), second movement 142 Opus 125 163 VIII contents Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 56797_FM_ptg01.indd 8 29/08/14 3:38 PM