In the following piece, what is the form in the passage from 0:11 to 0:44?

GUIDE TO RECORDINGS

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Unit I CD

6-CD Set

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Joplin “Maple Leaf Rag” 7 1 --- --- ---

Rachmaninov Rhapsody on a Theme by Paganini (excerpt) 8 2 --- --- --- Schubert Symphony No. 8 (“Unfinished”), I (excerpt) 11 3 --- --- --- Gershwin “Who Cares?” 27 4 --- --- --- Beethoven Joy Theme from Symphony No. 9, IV 30 5 --- --- --- Stravinsky Symphony of Psalms, II (excerpt) 30 6 --- --- --- Schubert String Quartet in A Minor, I (excerpt) 34, 38 7 --- --- --- Beethoven Piano Concerto No. 5 (“Emperor”), III (excerpt) 34 8 --- Tchaikovsky “Dance of the Sugar-Plum Fairy” from The Nutcracker 38 9 --- --- --- Britten The Young Person’s Guide to the Orchestra 18, 41 10–15 --- --- --- Anonymous Plainchant antiphon, “In paradisum” 47 --- 1:1 1 1 Hildegard of Bingen Plainchant sequence, “Columba aspexit” 48 --- 1:2 2 --- Bernart de Ventadorn Troubadour song, “La dousa votz” 50 --- 1:3 3 --- Pérotin Organum, “Alleluia. Diffusa est gratia” 53 --- 1:4 4 --- Anonymous Round, “Sumer Is Icumen In” 54 --- 1:5 5 --- Machaut Chanson, “Dame, de qui toute ma joie vient” (excerpt) 55 --- 1:6 6 --- Global Perspectives Qur’anic recitation, “Ya Sin” 57 --- 1:28 101 49 Global Perspectives Hawai’ian chant, mele pule 58 --- 1:29 102 --- Global Perspectives Navajo song, “K´adnikini´ya´” 59 --- 1:30 103 50 Dufay Harmonized hymn, “Ave maris stella” 61 --- 1:7 7 --- Josquin Pange lingua Mass, Kyrie 66 --- 1:8 8 2 Josquin Pange lingua Mass, from the Gloria 67 --- 1:9 9 --- Josquin Chanson, “Mille regrets” 68 --- 1:10 10 --- Palestrina Pope Marcellus Mass, from the Gloria 70 --- 1:11 11 --- Weelkes Madrigal, “As Vesta Was from Latmos Hill Descending” 73 --- 1:12 12 --- Anonymous Galliard, “Daphne” 75 --- 1:13 13 --- Anonymous “Kemp’s Jig” 76 --- 1:14 14 --- Global Perspectives Inca processional music, “Hanaq pachap kusikuynin” 78 --- 1:31 104 --- Gabrieli Motet, “O magnum mysterium” 81 --- 1:15 15 --- Monteverdi The Coronation of Poppea, Act I, “Tornerai?” and “Speranza, tu mi vai” 86 --- 1:16–17 16–17 --- Purcell Dido and Aeneas, Act III, “Thy hand, Belinda” and “When I am laid” 88 --- 1:18 18 3 Purcell Dido and Aeneas, Act III, “With drooping wings” 88 --- 1:19 19 --- Frescobaldi Canzona, Balletto, and Corrente 92 --- 1:20–22 20–22 --- Global Perspectives Gambian minstrel song, “Laminba” 94 --- 1:32 105 --- Global Perspectives Pygmy polyphony, Elephant-hunt song 95 --- 1:33 106 --- Vivaldi Violin Concerto in G, La stravaganza, Op. 4, No. 12, I 117 --- 1:23 23 4 Vivaldi Violin Concerto in G, II 120 --- 1:24 24 5 Vivaldi Violin Concerto in E, Spring, Op. 8, No. 1, I 122 --- 1:25 25 6 Bach Brandenburg Concerto No. 5, I 123 --- 2:1–5 26 7 Bach Prelude in C Major, from The Well-Tempered Clavier, Book I 129 --- 1:26 27 8 Bach Fugue in C Major, from The Well-Tempered Clavier, Book I 129 --- 1:27 28 9 Handel Minuet from the Royal Fireworks Music 133 --- 2:6 29 --- Bach Gigue from Cello Suite No. 2 in D Minor 134 --- 2:7 30 10 Handel Julius Caesar, “La giustizia” 138 --- 2:8 31 --- Handel Messiah, “There were shepherds” and “Glory to God” 142 --- 2:9 32 11 Handel Messiah, Hallelujah Chorus 142 --- 2:10 33 12 Bach Cantata No. 4, “Christ lag in Todesbanden” (stanzas 3, 4, and 7) 147 --- 2:11–13 34–36 --- Mozart Symphony No. 40 in G Minor, K. 550, I 165 --- 2:14–19 37 13 Haydn Symphony No. 94 in G (“The Surprise”), II 171 --- 2:20–25 38 14 Haydn Symphony No. 99 in E-flat, III 175 --- 2:26–28 39 15 Haydn Symphony No. 101 in D (“The Clock”), IV 178 --- 2:29–33 40 16 Mozart Piano Concerto No. 23 in A, K. 488, I 184 --- 2:34–38 41 --- Mozart Don Giovanni, from Act I, scene iii, “Ho capito,” “Alfin siam liberati,”

and “Là ci darem la mano” 190 --- 2:39–41 42–44 ---

Global Perspectives Japanese gagaku, Etenraku 198 --- 3:34 107 ---

Guide to RecoRdinGs

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Unit I CD

6-CD Set

Full Downloads

Brief Downloads

Global Perspectives Balinese gamelan, Bopong 201 --- 3:35 108 --- Beethoven Symphony No. 5 in C Minor, Op. 67, I 209 --- 3:1–9 45 17 Beethoven Symphony No. 5, II 209 --- 3:10–11 46 18 Beethoven Symphony No. 5, III 209 --- 3:12–13 47 19 Beethoven Symphony No. 5, IV 209 --- 3:14–15 48 20 Beethoven Piano Sonata in E, Op. 109, I 216 --- 2:42–45 49 --- Schubert “Erlkönig” 234 --- 3:16 50 21 R. Schumann Dichterliebe, “Im wunderschönen Monat Mai” 238 --- 3:17 51 22 R. Schumann Dichterliebe, “Die alten, bösen Lieder” 238 --- 3:18 52 --- C. Schumann “Der Mond kommt still gegangen” 241 --- 3:19 53 23 Schubert Moment Musical No. 2 in A-flat 243 --- 3:20–23 54 --- R. Schumann Carnaval, “Eusebius” 244 --- 3:24 55 24 R. Schumann Carnaval, “Florestan” 244 --- 3:25 56 25 Chopin Nocturne in F-sharp, Op. 15, No. 2 245 --- 3:26 57 26 Berlioz Fantastic Symphony, V 249 --- 3:27–33 58 27 Verdi Rigoletto, from Act III, “La donna è mobile” and “Bella figlia

dell’amore” 259 --- 4:1–6 59–60 28–29

Wagner The Valkyrie, Act I, scene i 269 --- 4:7–12 61 30 Puccini Madame Butterfly, from Act II, “Un bel dì” 275 --- 4:13 62 31 Tchaikovsky Overture-Fantasy, Romeo and Juliet 279 --- 4:14–25 63 32 Musorgsky Pictures at an Exhibition, “Promenade [1]” 284 --- 4:26 64 33 Musorgsky Pictures at an Exhibition, “Gnomus” 284 --- 4:27 65 --- Musorgsky Pictures at an Exhibition, “Promenade [2]” 284 --- 4:28 66 --- Musorgsky Pictures at an Exhibition, “The Great Gate at Kiev” 284 --- 4:29 67 34 Brahms Violin Concerto in D, Op. 77, III 289 --- 4:30-35 68 --- Mahler Symphony No. 1, III (Funeral March) 293 --- 4:36–43 69 35 Global Perspectives Beijing opera, The Prince Who Changed into a Cat 299 --- 4:44 109 --- Debussy Clouds, from Three Nocturnes 313 --- 5:1–6 70 36 Stravinsky The Rite of Spring, from Part I, “The Adoration of the Earth” 317 --- 5:7–13 71 37 Schoenberg Pierrot lunaire, No. 8, “Night” 321 --- 5:14 72 --- Schoenberg Pierrot lunaire, No. 18, “The Moonfleck” 321 --- 5:15 73 38 Berg Wozzeck, Act III, scenes iii and iv 324 --- 5:16–20 74–75 --- Ives Second Orchestral Set, II, “The Rockstrewn Hills Join in the People’s

Outdoor Meeting” 331 --- 5:21–22 76 39

Ravel Piano Concerto in G, I 337 --- 5:23–27 77 --- Bartók Music for Strings, Percussion, and Celesta, II 341 --- 5:28–34 78 --- Crawford Prelude for Piano No. 6 (Andante Mystico) 345 --- 5:35 79 --- Still Afro-American Symphony, IV 348 --- 5:36–40 80 --- Copland Appalachian Spring, Sections 1, 2, and 5 350 --- 5:41–43 81–83 40–42 Copland Appalachian Spring, Section 6 350 --- 5:44 84 --- Prokofiev Alexander Nevsky Cantata, “The Battle on Ice” (excerpts) 354 --- 6:1–2 85–86 --- Webern Five Orchestral Pieces, IV 362 --- 6:3 87 43 Varèse Poème électronique (excerpt) 364 --- 6:4 88 --- Ligeti Lux aeterna 366 --- 6:5–8 89 --- Reich Music for 18 Musicians (excerpt) 369 --- 6:9–10 90–91 44–45 Crumb Voices from a Forgotten World (American Songbook, Volume 5),

“ The House of the Rising Sun” and “Hallelujah, I’m a Bum!” 374 --- 6:11–12 92–93 ---

León Indígena 375 --- 6:13–16 94 --- Thomas “If You Ever Been Down” Blues 387 --- 6:17 95 46 Ellington/ Tizol “Conga Brava” 391 --- 6:18 96 47 Parker and Davis “Out of Nowhere” 395 --- 6:19 97 48 Davis Bitches Brew (excerpt) 396 --- 6:20 98 --- Global Perspectives Yoruba drumming, “Ako” 397 --- 6:23 110 51 Bernstein West Side Story, Cha-cha, meeting scene, and “Cool” 399 --- 6:21–22 99–100 --- Global Perspectives South African popular song, “Anoku Gonda” 411 --- 6:24 111 ---

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b e d f o r d / s t . m a r t i n ’s Boston ◆ New York

LISTEN

joseph kerman University of California, Berkeley

gary tomlinson Yale University

with

vivian kerman

Eighth E d i t i o n

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For Bedford/St. Martin’s

Vice President, Editorial, Macmillan Higher Education Humanities: Edwin Hill Editorial Director for English and Music: Karen Henry Senior Developmental Editor: Caroline Thompson Senior Production Editor: Deborah Baker Senior Production Supervisor: Jennifer Wetzel Executive Marketing Manager: Sandi McGuire Editorial Assistant: Brenna Cleeland Copy Editor: Barbara Jatkola Indexer: Leoni McVey Photo Researcher: Susan Doheny Director of Rights and Permissions: Hilary Newman Senior Art Director: Anna Palchik Text Design: Marsha Cohen Cover Design: William Boardman Cover Art: Dance 2, 2000 (oil on board), Bayo Iribhogbe. Private Collection/Bridgeman Images. Composition: CodeMantra Printing and Binding: RR Donnelley

Copyright © 2015, 2012, 2008, 2004 by Bedford/St. Martin’s

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher.

Manufactured in the United States of America. 9 8 7 6 5 4 f e d c b a

For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)

ISBN: 978-1-4576-6985-9 ISBN: 978-1-4576-9698-5 (loose-leaf edition)

Acknowledgments

Text acknowledgments and copyrights appear on the same page as the text and art selections they cover; these acknowledgments and copyrights constitute an extension of the copyright page. It is a violation of the law to reproduce these selections by any means whatsoever without the written permission of the copyright holder.

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TO THE MEMORY OF

Joseph and Vivian Kerman

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Joseph Kerman was a leading musicologist, music critic, and music educator from the 1950s into the 2000s. He conceived Listen together with his wife, Vivian Kerman, and was its original author. From his first book, Opera as Drama (1956), to his last, Opera and the Morbidity of Music (2008), including studies of Bach, Beethoven, William Byrd, concertos, and more, Kerman reshaped our understanding and appreciation of Western classical music. He was long a professor at the University of California, Berkeley, where he served two terms as chair of the Music Department.

Gary Tomlinson did the same at the University of Pennsylvania before he moved to Yale University in 2011, where he is now the John Hay Whitney Professor and Director of the Whitney Humanities Center. A former MacArthur Fellow, he has authored books on Claudio Monteverdi, Renaissance musical culture, opera, and the singing rituals of the Aztecs and Incas. His latest book, A Million Years of Music, describes the evolutionary emergence of music.

Teaching was the heart and soul of Kerman’s musical career, and it remains such in Tomlinson’s. Between them, their wide-ranging course offerings have encompassed harmony and ear-training, opera, world music, popular music, interdisciplinary studies, seminars in music history, criticism, anthropology, and — many times over — Introduction to Music for non-majors.

Tomlinson and Kerman worked together on five editions of Listen. Joseph Kerman died early in 2014, just shy of his ninetieth birthday, as this edition went to press.

About the Authors

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P R E F A C E : T O T H E I N S T R U C T O R xxiii

I N T R O D U C T I O N : T O T H E S T U D E N T xxx

unit

I Fundamentals 2 1 Rhythm, Meter, and Tempo 4

2 Pitch, Dynamics, and Tone Color 10 3 Scales and Melody 22 4 Harmony, Texture, Tonality, and Mode 28 5 Musical Form and Musical Style 35

unit

II Early Music: An Overview 42 6 The Middle Ages 44

7 The Renaissance 60 8 The Early Baroque Period 79

unit

III the Eighteenth Century 96 9 P R E L U D E The Late Baroque Period 98

10 Baroque Instrumental Music 114 11 Baroque Vocal Music 135 12 P R E L U D E Music and the Enlightenment 150 13 The Symphony 161 14 Other Classical Genres 181

unit

IV the nineteenth Century 202 15 Beethoven 204 16 P R E L U D E Music after Beethoven: Romanticism 218 17 The Early Romantics 233 18 Romantic Opera 256 19 The Late Romantics 277

unit

V the twentieth Century and Beyond 300 20 P R E L U D E Music and Modernism 302 21 Early Modernism 312 22 Modernism between the Wars 335 23 The Late Twentieth Century 358 24 Music in America: Jazz and Beyond 381

A P P E N D I x A Time Lines 414

A P P E N D I x B Musical Notation 419

G L O S S A R y O F M U S I C A L T E R M S 423

I N D E x 431

Brief Contents

vii

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Music for the Listening Exercises is on the Unit I CD bound into this book and in LaunchPad for Listen at macmillanhighered.com/listen8e.

Interactive versions of the Listening Charts can also be found in LaunchPad. See the inside back cover for details.

Listening Exercises 1 Rhythm, Meter, and Syncopation 7 2 Rhythm, Meter, and Tempo 8 3 Pitch and Dynamics 11

4 The Orchestra in Action 18 5 Melody and Tune 27 6 Texture 30 7 Mode and Key 34 8 Musical Form 38

Listening Charts 1 Britten, The Young Person’s Guide to the Orchestra 41

2 Vivaldi, Violin Concerto in G, La stravaganza, first movement 118 3 Vivaldi, Violin Concerto in G, La stravaganza, second movement 121 4 Vivaldi, Violin Concerto in E, Spring, first movement 122 5 Bach, Brandenburg Concerto No. 5, first movement 125 6 Bach, Fugue 1 in C Major, from The Well-Tempered Clavier 131 7 Mozart, Symphony No. 40 in G Minor, first movement 167 8 Haydn, Symphony No. 94 in G (“The Surprise”), second movement 172 9 Haydn, Symphony No. 99 in E-flat, third movement 176 10 Haydn, Symphony No. 101 in D (“The Clock”), fourth movement 179 11 Mozart, Piano Concerto No. 23 in A, first movement 186 12 Beethoven, Symphony No. 5 in C Minor, first movement 212 13 Beethoven, Symphony No. 5 in C Minor, complete work 214 14 Beethoven, Piano Sonata in E, Op. 109, first movement 216 15 Berlioz, Fantastic Symphony, fifth movement 254 16 Tchaikovsky, Overture-Fantasy, Romeo and Juliet 281 17 Brahms, Violin Concerto in D, third movement 290 18 Mahler, Symphony No. 1, third movement, Funeral March 295 19 Debussy, Clouds, from Three Nocturnes 315 20 Stravinsky, The Rite of Spring, from Part I, “The Adoration of the Earth” 319 21 Ives, Second Orchestral Set, “The Rockstrewn Hills” 333 22 Ravel, Piano Concerto in G, first movement 338 23 Bartók, Music for Strings, Percussion, and Celesta, second movement 343 24 Crawford, Prelude for Piano No. 6 345 25 Still, Afro-American Symphony, fourth movement 349 26 Prokofiev, “The Battle on Ice” from Alexander Nevsky Cantata 355 27 Ligeti, Lux aeterna 367 28 Reich, Music for 18 Musicians, opening 370 29 León, Indígena 376

viii

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http://www.macmillanhighered.com/listen8e

unit

I Fundamentals / 2

Rhythm, Meter, and tempo 4 1 | Rhythm 4

Beat and Accent 4

2 | Meter 5 Rhythm and Meter 6 Syncopation 7

LISTENING ExERCISE 1 Rhythm, Meter, and Syncopation 70

3 | Tempo 7 LISTENING ExERCISE 2 Rhythm, Meter, and Tempo 8

G O A L S F O R R E V I E W 9

Pitch, Dynamics, and tone Color 10 1 | Pitch 10

2 | Dynamics 11 LISTENING ExERCISE 3 Pitch and Dynamics 11

3 | Tone Color 12 Musical Instruments 13

LISTENING ExERCISE 4 The Orchestra in Action 18

G O A L S F O R R E V I E W 2 1

Contents

P R E F A C E : T O T H E I N S T R U C T O R xxiii

I N T R O D U C T I O N : T O T H E S T U D E N T xxx Classical Music — and Other Kinds xxxi

Classical Music and History xxxii

Listening xxxii

How to Use This Book xxxiv

CHAPTER

1