What is missing in this particular stanza of the erlking

GUIDE TO RECORDINGS

Text Page

Unit I CD

6-CD Set

Full Downloads

Brief Downloads

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

Text Page

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 ---

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 1 21/11/14 10:38 PM

This page intentionally left blank

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

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 3 21/11/14 10:38 PM

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.

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 4 21/11/14 10:38 PM

TO THE MEMORY OF

Joseph and Vivian Kerman

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 5 21/11/14 10:38 PM

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

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 6 21/11/14 10:38 PM

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

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 7 21/11/14 10:38 PM

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

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 8 21/11/14 10:38 PM

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

CHAPTER

2

ix

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 9 21/11/14 10:38 PM

Scales and Melody 22 1 | Scales 22

The Octave 22 The Diatonic Scale 23 The Chromatic Scale 23 Half Steps and Whole Steps 24

2 | Melody 24 Tunes 25 Motives and Themes 25

Characteristics of Tunes 26

LISTENING ExERCISE 5 Melody and Tune 27

G O A L S F O R R E V I E W 2 7

Harmony, texture, tonality, and Mode 28 1 | Harmony 28

Consonance and Dissonance 28

2 | Texture 29 Monophony 29 Homophony and Polyphony 29 Imitation 29

LISTENING ExERCISE 6 Texture 30

3 | Tonality and Mode 30 Tonality 31 Major and Minor Modes 31 Keys 32 Listening for the Major and Minor Modes 32 Listening for Keys and Modulation 33

LISTENING ExERCISE 7 Mode and Key 34

G O A L S F O R R E V I E W 3 4

Musical Form and Musical Style 35 1 | Form in Music 35

Form and Feeling 35 Form and Forms 36 Musical Genres 37

LISTENING ExERCISE 8 Musical Form 38

2 | Musical Style 38 Musical Style and Lifestyle 39

Benjamin Britten, The Young Person’s Guide to the Orchestra (1946) 39

LISTENING CHART 1 41

G O A L S F O R R E V I E W 4 1

C o n T e n T sx

CHAPTER

4

CHAPTER

3

CHAPTER

5

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 10 21/11/14 10:38 PM

Early Music: An Overview / 42 Chronology 43

the Middle Ages 44 1 | Music and the Church 44

Music and Church Services: Liturgy 44 Plainchant 45 Characteristics of Plainchant 46 Gregorian Recitation and Gregorian Melody 47

Anonymous (c. ninth century), Plainchant antiphon, “In paradisum” 47

Hildegard of Bingen (1098–1179), Plainchant sequence, “Columba aspexit” 48

2 | Music at Court 49 Troubadour and Trouvère Songs 49

Bernart de Ventadorn (c. 1135–1194), Troubadour song, “La dousa votz” 50 The Estampie 51

How Did early Music sound? 51

3 | The Evolution of Polyphony 52 Organum 52

Pérotin (c. 1200), organum, “Alleluia. Diffusa est gratia” 53

4 | Later Medieval Polyphony 54 Anonymous (late thirteenth century), Round, “sumer Is Icumen In” 54 Ars Nova 55

Guillaume de Machaut (c. 1300–1377), Chanson, “Dame, de qui toute ma joie vient” 55

G O A L S F O R R E V I E W 5 6

Global Perspectives | Sacred Chant 57

the Renaissance 60 1 | New Attitudes 60

Early Homophony 61

Guillaume Dufay (c. 1400–1474), Harmonized hymn, “Ave maris stella” 61 The Mass 63

2 | The High Renaissance Style 64 Imitation 64 Homophony 64 Other Characteristics 65

Josquin Desprez, Pange lingua Mass (c. 1510) 65

C o n T e n T s xi

unit

II

CHAPTER

7

CHAPTER

6

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 11 21/11/14 10:38 PM

3 | Music as Expression 67 Josquin Desprez, Chanson, “Mille regrets” 68

4 | Late Renaissance Music 69 Giovanni Pierluigi da Palestrina, Pope Marcellus Mass (1557) 70 The Motet 72 The Italian Madrigal 72 The English Madrigal 72

Thomas Weelkes, Madrigal, “As Vesta Was from Latmos Hill Descending” (1601) 73

5 | Instrumental Music: Early Developments 74 Renaissance Dances 74

Anonymous (sixteenth century), Galliard, “Daphne” 75

Anonymous (sixteenth century), “Kemp’s Jig” 76

G O A L S F O R R E V I E W 7 6

Global Perspectives | Music and Early European Colonialism 77

the Early Baroque Period 79 1 | From Renaissance to Baroque 79

Music in Venice 79 Extravagance and Control 81

Giovanni Gabrieli, Motet, “o magnum mysterium” (c. 1610) 81

2 | Style Features of Early Baroque Music 82 Rhythm and Meter 82 Texture: Basso Continuo 82 Functional Harmony 83

3 | Opera 83 Recitative and Aria 84 Claudio Monteverdi (1567–1643) 85

singing Italian 85

Claudio Monteverdi, The Coronation of Poppea (1642) 86

Henry Purcell (1659–1695) 88

Henry Purcell, Dido and Aeneas (1689) 88

4 | The Rise of Instrumental Music 90 Girolamo Frescobaldi (1583–1643) 91

Girolamo Frescobaldi, Canzona, Balletto, and Corrente (1627–1637) 92

G O A L S F O R R E V I E W 9 3

Global Perspectives | African Ostinato Forms 94

C o n T e n T sxii

CHAPTER

8

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 12 21/11/14 10:38 PM

the Eighteenth Century / 96 Chronology 97

P R E L U D E

the Late Baroque Period 98 1 | Absolutism and the Age of Science 98

Art and Absolutism 99 The Music of Absolutism 101 Art and Theatricality 102 Science and the Arts 102 Science and Music 103

2 | Musical Life in the Early Eighteenth Century 105

3 | Style Features of Late Baroque Music 107 Rhythm 107 Dynamics 107 Tone Color 108 The Baroque Orchestra 108 Melody 108 Ornamentation 109 Texture 110 The Continuo 110 Musical Form 111

4 | The Emotional World of Baroque Music 112 G O A L S F O R R E V I E W 1 1 3

Baroque instrumental Music 114 1 | Concerto and Concerto Grosso 115

Movements 116 Ritornello Form 116

Antonio Vivaldi, Violin Concerto in G, La stravaganza, op. 4, no. 12 (1712–1713) 117

LISTENING CHART 2 118

Baroque Variation Form: The Ground Bass 118

Antonio Vivaldi (1678–1741) 119

Antonio Vivaldi, Violin Concerto in G, second movement 120

LISTENING CHART 3 121

Vivaldi’s Greatest Hits 121

Antonio Vivaldi, Violin Concerto in e, Spring, op. 8, no. 1 (before 1725) 122

LISTENING CHART 4 122

C o n T e n T s xiii

CHAPTER

10

CHAPTER

9

unit

III

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 13 21/11/14 10:38 PM

Johann sebastian Bach, Brandenburg Concerto no. 5, for Flute, Violin, Harpsichord, and orchestra (before 1721) 123

LISTENING CHART 5 125

Johann Sebastian Bach (1685–1750) 127

2 | Fugue 126 Fugal Exposition 128 Fugal Devices 129

Johann sebastian Bach, Prelude and Fugue in C Major, from The Well-Tempered Clavier, Book 1 (1722) 129

LISTENING CHART 6 131

Glenn Gould (1932–1982) 131

3 | Baroque Dances 132 The Dance Suite 132 Baroque Dance Form 132

George Frideric Handel, Minuet from the Royal Fireworks Music (1749) 133

Johann sebastian Bach, Gigue from Cello suite no. 2 in D Minor (c. 1720) 134

G O A L S F O R R E V I E W 1 3 4

Baroque Vocal Music 135 1 | Opera 135

Italian Opera Seria 137 Recitative 137

The Castrato 137 Aria 138

George Frideric Handel, Julius Caesar (1724) 138

2 | Oratorio 140 George Frideric Handel (1685–1759) 141

George Frideric Handel, Messiah (1742) 142

Women in Music 146

3 | The Church Cantata 145 The Lutheran Chorale 145

Johann sebastian Bach, Cantata no. 4, “Christ lag in Todesbanden” (1707) 147

G O A L S F O R R E V I E W 1 4 9

P R E L U D E

Music and the Enlightenment 150 1 | The Enlightenment and Music 150

“The Pursuit of Happiness” 152 Art and Entertainment 153 Jean-Jacques Rousseau and Opera 153 The Novel 154

2 | The Rise of Concerts 154

C o n T e n T sxiv

CHAPTER

12

CHAPTER

11

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 14 21/11/14 10:38 PM

3 | Style Features of Classical Music 155 Rhythm 155 Dynamics 156 Tone Color: The Classical Orchestra 156 Melody: Tunes 158 Texture: Homophony 158 Classical Counterpoint 159

4 | Form in Classical Music 159 Repetitions and Cadences 159 Classical Forms 160

G O A L S F O R R E V I E W 1 6 0

the Symphony 161 1 | The Movements of the Symphony 161

2 | Sonata Form 162 Exposition (A) 163 Development (B) 164 Recapitulation (A9) 164

Wolfgang Amadeus Mozart, symphony no. 40 in G Minor, K. 550 (1788) 165

LISTENING CHART 7 167

Wolfgang Amadeus Mozart (1756–1791) 168

3 | Classical Variation Form 169 Symphonies of Haydn 169

Franz Joseph Haydn, symphony no. 94 in G (“The surprise,” 1791) 171

LISTENING CHART 8 172

4 | Minuet Form (Classical Dance Form) 173 Baroque and Classical Dance Form 173

Franz Joseph Haydn (1732–1809) 174

Franz Joseph Haydn, symphony no. 99 in e-flat (1793) 175

LISTENING CHART 9 176

5 | Rondo Form 177 Franz Joseph Haydn, symphony no. 101 in D (“The Clock,” 1793–1794) 178

LISTENING CHART 10 179

G O A L S F O R R E V I E W 1 8 0

Other Classical Genres 181 1 | The Sonata 181

2 | The Classical Concerto 183 Double-Exposition Form 183

Wolfgang Amadeus Mozart, Piano Concerto no. 23 in A, K. 488 (1786) 184

LISTENING CHART 11 186

3 | The String Quartet 187 Chamber Music 188

xv

CHAPTER

14

CHAPTER

13

C o n T e n T s

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 15 21/11/14 10:38 PM

4 | Opera Buffa 189 The Ensemble 189

Wolfgang Amadeus Mozart, Don Giovanni (1787) 190

G O A L S F O R R E V I E W 1 9 5

Global Perspectives | Musical Form: Two Case Studies from Asia 196

the nineteenth Century / 202 Chronology 203

Beethoven 204 1 | Between Classicism and Romanticism 204

The French Revolution 205

2 | Beethoven and the Symphony 206 Ludwig van Beethoven (1770–1827) 207 The Scherzo 208

Ludwig van Beethoven, symphony no. 5 in C Minor, op. 67 (1808) 209

LISTENING CHART 12 212

LISTENING CHART 13 214

3 | Beethoven’s “Third Period” 215 Ludwig van Beethoven, Piano sonata in e, op. 109 (1820) 216

LISTENING CHART 14 216

G O A L S F O R R E V I E W 2 1 7

P R E L U D E

Music after Beethoven: Romanticism 218 1 | Romanticism 218

The Cult of Individual Feeling 219 Romanticism and Revolt 220 Artistic Barriers 220 Music and the Supernatural 221 Music and the Other Arts 222

2 | Concert Life in the Nineteenth Century 224 The Artist and the Public 224

3 | Style Features of Romantic Music 225 Romantic Melody 226 Romantic Harmony 226 Rhythmic Freedom: Rubato 227

C o n T e n T sxvi

CHAPTER

16

unit

IV

CHAPTER

15

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 16 21/11/14 10:38 PM

The Expansion of Tone Color 227

4 | Program Music 228

5 | Form in Romantic Music 229 Miniature Compositions 229 Grandiose Compositions 230 The Principle of Thematic Unity 231

G O A L S F O R R E V I E W 2 3 2

the Early Romantics 233 1 | The Lied 233

Franz schubert, “erlkönig” (The erlking) (1815) 234

Franz Schubert (1797–1828) 237 The Song Cycle 237

Robert schumann, Dichterliebe (A Poet’s Love) (1840) 238

Robert Schumann (1810–1856) 241

Clara schumann, “Der Mond kommt still gegangen” (The moon has risen softly) (1843) 241

Clara Wieck (Clara Schumann) (1819–1896) 242

2 | The Character Piece for Piano 243 Franz schubert, Moment Musical no. 2 in A-flat (1827?) 243

Robert schumann, Carnaval (1833–1835) 244

Frédéric Chopin, nocturne in F-sharp, op. 15, no. 2 (1831) 245

Frédéric Chopin (1810–1849) 246

Franz Liszt (1811–1886) 247

3 | Early Romantic Program Music 247 The Concert Overture: Felix Mendelssohn 248

Felix Mendelssohn (1809–1847) 248

Fanny Mendelssohn (1805–1847) 248 The Program Symphony: Hector Berlioz 249

Hector Berlioz, Fantastic symphony: episodes in the Life of an Artist (1830) 249

LISTENING CHART 15 254

Hector Berlioz (1803–1869) 251

G O A L S F O R R E V I E W 2 5 5

Romantic Opera 256 1 | Verdi and Italian Opera 257

Recitative and Aria: The Role of the Orchestra 257

Early Romantic Opera 258

Giuseppe Verdi, Rigoletto (1851) 259

Giuseppe Verdi (1813–1901) 261

2 | Wagner and Music Drama 264 Richard Wagner (1813–1883) 265

C o n T e n T s xvii

CHAPTER

17

CHAPTER

18

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 17 21/11/14 10:38 PM

The Total Work of Art 266

Wagner’s Tristan and Isolde (1859) 267 Leitmotivs 268 The Nibelung’s Ring (1848–1874) 268

Richard Wagner, The Valkyrie (1851–1856) 269

3 | Late Romantic Opera 274 Giacomo Puccini (1858–1924) 274

Giacomo Puccini, Madame Butterfly (1904) 275

G O A L S F O R R E V I E W 2 7 6

the Late Romantics 277 Romanticism and Realism 277

1 | Late Romantic Program Music 279 Pyotr Ilyich Tchaikovsky, overture-Fantasy, Romeo and Juliet (1869, revised 1880) 279

LISTENING CHART 16 281

Pyotr Ilyich Tchaikovsky (1840–1893) 280

2 | Nationalism 282 Exoticism 283 The Russian Kuchka 284

Modest Musorgsky, Pictures at an Exhibition (1874) 284

Modest Musorgsky (1839–1881) 286

Other Nationalists 287

3 | Responses to Romanticism 286 The Renewal of Classicism: Brahms 287

Johannes Brahms (1833–1897) 288

Johannes Brahms, Violin Concerto in D, op. 77 (1878) 289

LISTENING CHART 17 290 Romantic Nostalgia: Mahler 291

Gustav Mahler (1860–1911) 292

Gustav Mahler, symphony no. 1 (1888) 293

LISTENING CHART 18 295

G O A L S F O R R E V I E W 2 9 6

Global Perspectives | Musical Drama Worldwide 297

the twentieth Century and Beyond / 300 Chronology 301

C o n T e n T sxviii

CHAPTER

19

unit

V

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 18 21/11/14 10:38 PM

P R E L U D E

Music and Modernism 302 1 | Varieties of Modernism 302

2 | Progress and Uncertainty 303

3 | The Response of Modernism 304

4 | Literature and Art before World War I 305 Impressionists and Symbolists 306 Expressionists and Fauves 308

5 | Modernist Music before World War I 308 Experiment and Transformation: Melody 309 New Horizons, New Scales 310 “The Emancipation of Dissonance” 310

G O A L S F O R R E V I E W 3 1 1

Early Modernism 312 1 | Debussy and Impressionism 313

Claude Debussy, Clouds, from Three nocturnes (1899) 313

LISTENING CHART 19 315

Claude Debussy (1862–1918) 316

2 | Stravinsky: The Primacy of Rhythm 315 Igor stravinsky, The Rite of Spring, Part I, “The Adoration of the earth” (1913) 317

LISTENING CHART 20 319

Igor Stravinsky (1882–1971) 320

3 | Expressionism 320 Arnold schoenberg, Pierrot lunaire (Moonstruck Pierrot) (1912) 321

Arnold Schoenberg (1874–1951) 324

Alban Berg, Wozzeck (1923) 324

schoenberg and serialism 327

4 | The First American Modernist: Ives 330 Charles Ives (1874–1954) 331

Charles Ives, second orchestral set, second movement, “The Rockstrewn Hills Join in the People’s outdoor Meeting” (1909) 331

LISTENING CHART 21 333

Charles Ives, The Unanswered Question (1906) 333

G O A L S F O R R E V I E W 3 3 4

Modernism between the Wars 335 1 | Mixing Classical Form and Jazz: Maurice Ravel 337

Maurice Ravel, Piano Concerto in G (1931) 337

LISTENING CHART 22 338

C o n T e n T s xix

CHAPTER

21

CHAPTER

22

CHAPTER

20

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 19 21/11/14 10:38 PM

Maurice Ravel (1875–1937) 339

2 | Folk Music, Nationalism, and Modernism: Béla Bartók 340 Béla Bartók (1881–1945) 340

Béla Bartók, Music for strings, Percussion, and Celesta (1936) 341

LISTENING CHART 23 343

3 | Varieties of American Modernism 344 Ruth Crawford 345

Ruth Crawford, Prelude for Piano no. 6 (Andante Mystico; 1928) 345

LISTENING CHART 24 345

Ruth Crawford (1901–1953) 346

William Grant Still 346

William Grant Still (1895–1978) 347

William Grant still, Afro-American symphony (1930) 348

LISTENING CHART 25 349

Aaron Copland 349

Aaron Copland, Appalachian Spring (1945) 350

Aaron Copland (1900–1990) 352

4 | The Rise of Film Music 352 Composers for Film 353

sergei Prokofiev, Alexander Nevsky Cantata (1938) 354

LISTENING CHART 26 355

Sergei Prokofiev (1891–1953) 355

Music and Totalitarianism 356

G O A L S F O R R E V I E W 3 5 7

the Late twentieth Century 358 1 | The Postwar Avant-Garde 358

New Sound Materials 360 Electronic Music 360 On the Boundaries of Time 361

Anton Webern, Five orchestral Pieces (1913) 362

Chance Music 362

2 | The New Generation 363 Edgard Varèse (1883–1965) 363

edgard Varèse, Poème électronique (1958) 364

György Ligeti (1923–2006) 365

György Ligeti, Lux aeterna (1966) 366

LISTENING CHART 27 367

John Cage (1912–1992) 367

John Cage, 4’ 33’’ (1952) 367

3 | Music at the End of the Millennium 368 Steve Reich (b. 1936) and Minimalism 369

steve Reich, Music for 18 Musicians (1974–1976) 369

C o n T e n T sxx

CHAPTER

23

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 20 21/11/14 10:38 PM

LISTENING CHART 28 370

New Expressionism and Connecting to the Past 372 George Crumb (b. 1929) 372

George Crumb, Voices from a Forgotten World (American Songbook, Volume 5) (2006) 374

Tania León (b. 1943) 375

Tania León, Indígena (1991) 375

LISTENING CHART 29 376

John Adams (b. 1947) 377

John Adams, Doctor Atomic (2005) 377

G O A L S F O R R E V I E W 3 8 0

Music in America: Jazz and Beyond 381 1 | Early American Music: An Overview 381

The Cultivated Tradition 382 Music in the Vernacular 384 African American Music 385

2 | Jazz: The First Fifty Years 386 Ragtime: Scott Joplin (1868–1917) 386 The Blues 387

sippie Wallace, “If You ever Been Down” Blues (1927) (Composed by G. W. Thomas) 387

New Orleans Jazz 388

Louis Armstrong (1901–1971) 390

Big-Band Jazz: Swing 390

Duke ellington, “Conga Brava” (1940) 391

Duke Ellington (1899–1974) 392

Popular Song 393

3 | Later Jazz 393 Bebop 393

Charlie Parker and Miles Davis, “out of nowhere” (1948) 395

Jazz after Bebop 395

Miles Davis, Bitches Brew (1969) 396

Global Perspectives | African Drumming 397

4 | The American Musical 398 Musical Comedy 398 The Musical after 1940 399

Leonard Bernstein, West Side Story (1957) 399

The Later Musical 402

5 | Rock 402 Early Rock ’n’ Roll 403 The 1960s: Rock Comes of Age 404 Motown, Soul, and Funk 404 The British Invasion 405 American Counteroffensives 406

C o n T e n T s xxi

CHAPTER

24

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 21 21/11/14 10:38 PM

After the 1960s 407 Trends 1980–2000: Punk, Rap, and Post-Rock 408

Global Perspectives | Global Music 410

6 | Conclusion 413 G O A L S F O R R E V I E W 4 1 3

time Lines 414

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

APPENDIx

A APPENDIx

B

C o n T e n T sxxii

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 22 21/11/14 10:38 PM

xxiii

When Joseph and Vivian Kerman launched the first edition of Listen back in 1972, they no doubt hoped — but could not have expected — that it would still be reaching students over forty years later. The staying power of the book is a tribute to many things and many people, but above all it commemorates their initial vision and their continued efforts across several decades in revising and improving it. Joe himself came to regard Listen as far and away the most important contribution of his career, a judgment that sets a high bar, given Opera as Drama, The Beethoven Quartets, Contemplating Music, and the rest. But who would gainsay that judgment, in the light of the hundreds of thou- sands of undergraduates whose lives have been touched and even transformed in courses employing Listen?

The Kermans’ vision was at first almost unique: to focus the attention of non-major undergraduates on close, analytic listening to great music at the same time as they came to understand its place in a historical chronology of styles and in a broader story of Western culture. Listen fulfills this vision in a fashion still unsurpassed, and we continue to revise and improve the book in ways that respond to the changing landscape of teaching introductory courses to the Western musical tradition.

New to This Edition The changes in Listen, Eighth Edition, answer to the desires, viewpoints, and indeed criticisms we have solicited from users and non-users alike. Particularly important have been users’ views on the teaching effectiveness of individual works. Of course we have retained the basic elements that have always distin- guished Listen: the stimulating prose, the high-quality recordings, the unmatched Listening Charts, the clear laying-out of musical basics in Unit I, and the broad context outlined in Prelude chapters for each new historical phase. To these we have added new features, new repertory, and a clean, updated new design.

New Features Each historical unit begins with an arresting two-page spread designed to ori- ent the student quickly and effectively. On the left is a very short description of the materials introduced in the unit, on the right a time line of the works students will encounter, tabulating composers’ names, titles of works, and chronological order of composition. In between is an artwork characteristic of the period at hand, with a caption explaining what makes it so.

Each chapter ends with a new bullet list of Goals for Review: checklists of the listening skills and key concepts students should particularly attend to as they study.

Preface To the Instructor

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 23 21/11/14 10:38 PM

xxiv

New Repertory As in every new edition, we have sought to improve the coverage of the musi- cal repertories at the heart of our enterprise. We have added a movement from Vivaldi’s The Four Seasons, always a favorite with students and teachers alike. The coverage of the Classical symphony now exemplifies variations, rondo, and minuet forms with movements from three of Haydn’s London symphonies. A Beethoven piano sonata movement shows features of his late style.

For the twentieth and twenty-first centuries, the rethinking has been extensive. For the early part of the period, the coverage of modernism is more inclusive and varied, with the addition of new works by Ruth Crawford and William Grant Still. For the most recent years, Listen adds new selections by Tania León, George Crumb, and John Adams.

All told, the new works are as follows:

• Vivaldi, Violin Concerto in E, La Primavera (Spring), Op. 8, No. 1, I (Allegro) • Haydn, Symphony No. 94 in G (“The Surprise”), II (Andante) • Haydn, Symphony No. 99 in E-flat, III (Allegretto) • Haydn, Symphony No. 101 in D (“The Clock”), IV (Finale. Vivace) • Beethoven, Piano Sonata in E, Op. 109, I (Vivace) • Ruth Crawford, Prelude for Piano No. 6 (Andante Mystico) • William Grant Still, Afro-American Symphony, IV (Lento, con risoluzione) • George Crumb, “The House of the Rising Sun” and “Hallelujah, I’m a Bum!”

from Voices from a Forgotten World (American Songbook, Volume 5)

• Tania Léon, Indígena • John Adams, Doctor Atomic

New Design The publishers of Listen, no less than the authors, have always worked hard to make this textbook attractive to look at; we all take pride in the book’s design and appearance. But the real point of a good design is to make it both easy and inviting to find your way around in a book. Of necessity there is a lot of diverse material here, lots of bits and pieces — the main text, boxes and charts of dif- ferent kinds, music, marginalia. The new design introduced in this edition enhances the flow of the text and emphasizes important information to make student reading a more effective learning experience. In general, the design gives a clean, updated “look.”

Students these days, perhaps more than ever before, are used to getting information quickly and clearly. Listen, Eighth Edition makes this possible without sacrificing the nuance of subject matter and presentation for which the book has always been praised.

New Formats Listen has always moved forward with new technological developments that are essential to the teaching of music appreciation. For this edition, we offer the full and brief sets of the Listen recordings in a convenient downloadable format; the full set is also available on six high-quality CDs. Streaming record- ings and an interactive e-book are available in LaunchPad, a new, fully cus- tomizable course space. See page xxvii for details.

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 24 21/11/14 10:38 PM

xxv

Distinctive Features of Listen In the midst of many changes, what have not changed are our basic coverage and organization, which have proved solid over many editions. For new users, we draw attention to the following strong features that we believe set Listen apart.

Fundamentals The Fundamentals unit develops basic musical concepts in a logical, orderly sequence. It begins with rhythm and meter and continues with pitch, dynamics, and tone color, pausing to consider the musical instruments students will be listening to. Next comes melody, and only then are the more challenging issues of harmony, tonality, and modality raised. The introduc- tion to music notation, not necessary for this unit or the book as a whole, is found in an appendix. This presentation, we feel, allows instructors to pick and choose issues they want to highlight more easily without losing the logic of the presentation.

Eight Listening Exercises that work with music on the Unit I CD (bound into the back of the book) illustrate rhythm, melody, texture, modality, and so on, and culminate in the encyclopedic Young Person’s Guide to the Orchestra by Benjamin Britten. We show students how to listen to this work as an informal summary of fundamentals at the end of the unit.

Flexible Coverage The main emphasis of Listen is on the common-practice repertory, with a care- ful selection of more modern material and a generous unit on pre-eighteenth- century music. After Unit I, the historical scheme goes from “early music” — in effect, everything before Bach and Handel, when the standard repertory begins — to the three great periods of Western classical music: the eighteenth and nineteenth centuries, and the twentieth century to the present. Units III, IV, and V, each containing several chapters, cover these periods. Unit II, “Early Music: An Overview,” is independent of the rest of the text; nothing later in the book depends on having studied it, so if your course plan begins with Bach and Handel in Unit III, students will not need to skip back for explanations of continuo texture, recitative, fugue, and so on.

Cultural Background The Baroque and Classical eras and the nineteenth and twentieth centuries are introduced by what we call “Prelude” chapters. Each summarizes fea- tures of the culture of the time, emphasizing those that stand in close rela- tion to music. The Prelude chapters also contain concise accounts of the musical styles of the eras, so that these chapters furnish background of two kinds — cultural and stylistic — for listening to specific pieces of music in the chapters that follow.

Biography boxes segregate material on the lives of the major composers from discussions of their music — again, making the book easier to read and easier to work from. The boxes include portraits, concise lists of works that can serve for study or reference, and, under the heading “Encore,” suggestions for further listening. Time lines in Appendix A locate composers at a glance in relation to other important historical figures and events.

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 25 21/11/14 10:38 PM

xxvi

Non-Western Music The seven Global Perspectives segments of Listen are positioned so as to elaborate on the European and American topics discussed around them. The Global Perspectives segment on sacred chant, for example, comes at the end of the Middle Ages chapter, where Gregorian chant has been discussed; African ostinato forms are exemplified after the early Baroque chapter; and a brief look at complex instrumental forms in Japanese and Indonesian traditions follows the eighteenth-century unit, with its examination of sonata form and other formal types in the Classical symphony.

We believe these materials broaden the coverage of Listen in a meaning- ful way, but we certainly do not offer them as a token survey of world musics. If they are a token of anything, it is the authors’ belief that music making worldwide shows certain common tendencies in which the European classical tradition has shared.

Listening Charts One of the strongest features of Listen, instructors have always told us, is the format for Listening Charts. The charts for instrumental works all fit onto one page, visible at a glance, with concise descriptions and identifications. Off at the side, brief music tags can easily be consulted by those who read music — and just as easily ignored by those who don’t. To see how these charts work, turn to the section “How to Use This Book” on pages xxxiv–xxxvii. Inter- active versions of the Listening Charts can be found in LaunchPad for Listen at macmillanhighered.com/listen8e. Guides for songs, operas, and other vocal works offer texts in original languages and parallel translations; they are set in “Listen” boxes throughout the book.

In the end, this text owes its success less to “features” than to two basic attributes, which the authors have been grateful to hear about many times from many instructors over the history of the book. Listen is distinctive in its writing style and, related to that, in the sense it conveys of personal involve- ment with the music that is treated. The tone is lively and alert, authoritative but not stiff and not without humor. We sound (because we are) engaged with music and we work to engage the student.

The excitement and joy that the experience of music can provide — this, more than historical or analytical data about music — is what most instruc- tors want to pass on to their students. Our efforts are rewarded when students tell us years later that music they studied has become a part of their lives. This is what teaching is about (which is why technology will never replace live instructors), and this is what we have always tried to do in Listen.

Acknowledgments We express our gratitude to the many practiced “music appreesh” instructors who have reviewed this book and its supplements and given us the benefit of their advice for this revision. Their criticisms and suggestions have signifi- cantly improved the text, as have the market surveys in which an even larger number of instructors generously participated. In addition to users of previous editions who over the years have given us suggestions, we wish to thank

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 26 21/11/14 10:38 PM

http://www.macmillanhighered.com/listen8e
xxvii

Lois Ash, Delaware State University; Jeanne Belfy, Boise State University; Roxanne Classen, MacEwan University; Cathryn Clayton, University of Utah; Bruce Cook, Diablo Valley College; Lara Saville Dahl, Georgia State University; Chris Davis, North Greenville University; Melissa Derechailo, Wayne State Col- lege; Leanne Dodge, Columbia University; Jennifer Duerden, Brigham Young University–Hawaii; Tracey Ford, Joliet Junior College; Janine Gaboury, Michi- gan State University; Gary Gackstatter, St. Louis Community College–Mera- mec; Scott Gleason, Fordham University; John Glennon, Ivy Tech Community College; David Gramit, University of Alberta; Rolf Groesbeck, University of Arkansas at Little Rock; Ross Hagen, Utah Valley University; Barry Hause, East Central Community College; Sharon A. Hickox, University of Nevada, Reno; Todd Jones, University of Kentucky; Karl Kolbeck, Wayne State College; Julianne Lindberg, University of Nevada, Reno; Robin Liston, Baker Univer- sity; John McClusky, University of Kentucky; Ginny Nixon, Concordia Univer- sity; Matthew Parker, Trident Technical College; Todd Quinlan, Blinn College; Katie Roberts, Brigham Young University; Catherine Roche-Wallace, Univer- sity of Louisiana, Lafayette; Ruth Spencer, City College of New York; George Sprengelmeyer, Quinnipiac University; Yiorgos Vassilandonakis, College of Charleston; and Steven Voigt, James Madison University.

The production of a major textbook is a complex, year-long process drawing on professionals from many areas. The main contributors to Listen are listed on the back of the title page, and we are truly grateful to all of them. Our first, special thanks go to the team that has worked in the trenches with the authors to turn this book and its ancillaries into realities and make them better in countless ways. Senior Editor Caroline Thompson, Senior Production Editor Deborah Baker, Art Director Anna Palchik, Designer Marsha Cohen, Editorial Assistant Brenna Cleeland, and picture and permissions consultants Martha Friedman, Kalina Ingham, Susan Doheny, and Margaret Gorenstein — the proj- ect would have been unmanageable without the expertise and hard work of all of them. Carrie Thompson’s efforts in particular often assumed larger-than-life, even operatic proportions. Tom Laskey of Sony Music, responsible for record- ings acquisitions and production, kept his head through the conniptions of the recording industry (even while authors around him did not). The cover was designed by Billy Boardman. Karen Henry, Editorial Director for English and Music, is a longtime supporter of and coworker on Listen; Edwin Hill, Vice President, Editorial, is a new and welcome supporter of the project.

We are delighted that Professor Mark Harbold has again undertaken the Instructor’s Resource Manual for the present edition, and we are grateful and fortunate indeed that Davitt Moroney agreed to perform a work specially for the CD set: He recorded the Frescobaldi Canzona, Balletto, and Corrente on the seventeenth-century Spanish organ by Greg Harrold at the University of California, Berkeley, in meantone tuning.

The high quality of Listen is a tribute to the expertise, dedication, tenacity, and artistry of all of these people. We are indebted to them all.

G. T. (for J. K. also)

Branford, CT, July 2014

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 27 21/11/14 10:38 PM

xxviii

Resources for Listen, Eighth Edition Bedford/St. Martin’s offers resources and format choices that help you and your students get the most out of your book and course. To learn more about or to order any of the following products, contact your Macmillan sales representative, e-mail sales support (sales_support@bfwpub.com), or visit the Web site at macmillanhighered.com/catalog/listen.

LaunchPad for Listen, eighth edition: Where students Learn LaunchPad provides engaging content and new ways to enhance your course. Get an interactive e-book combined with unique, book-specific materials in a fully customizable course space; then assign and mix our resources with yours.

• The complete Listen recordings are included in LaunchPad in a streaming format, integrated with the e-book. LaunchPad makes all of the music for the course available in one place, so there’s no need to purchase discs or downloads. Music for the Listening Exercises in Unit I is included in addition to all the recordings from the 6-CD set.

• Interactive Listening Charts provide the book’s 29 Listening Charts in a multimedia format, making it even easier for students to listen as they read the brief explanatory notes. Students can play back main sections of the charts with a single mouse click in order to study and compare specific events in the music.

• Pre-built units—including chapter text, streaming music, listening quizzes, reading quizzes, and more—are easy to adapt and assign by adding your own materials and mixing them with our high-quality multimedia content and ready-made assessment options.

• LaunchPad also provides access to a gradebook that provides a clear window on the performance of your whole class, individual students, and even individual assignments.

• A streamlined interface helps students focus on what’s due, and social commenting tools let them engage, make connections, and learn from each other. Use LaunchPad on its own or integrate it with your school’s learning management system so that your class is always on the same page.

To get the most out of your course, order LaunchPad for Listen packaged with the print book for a reasonable additional charge. (LaunchPad for Listen can also be purchased on its own.) An activation code is required.

• To order LaunchPad for Listen on its own, use ISBN 978-1-4576-9894-1. • To order LaunchPad for Listen packaged with the paperback edition, use ISBN 978-1-319-02398-0.

• To order LaunchPad for Listen packaged with the loose-leaf edition, use ISBN 978-1-319-02400-0.

select Value Packages Add value to your text by packaging one of the following resources with Listen, Eighth Edition. To learn more about package options for any of the

P R e F A C e | To the Instructor

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 28 21/11/14 10:38 PM

http://www.macmillanhighered.com/catalog/listen
xxixP R e F A C e | To the Instructor

following products, contact your Macmillan sales representative or visit macmillanhighered.com/catalog/listen.

The 6-CD set for Listen includes all of the recordings discussed in the text in a high-quality format that students can keep. To order the 6-CD set pack- aged with the paperback text, use ISBN 978-1-319-02397-3.

Access cards for music downloads make the Listen recordings available in a less expensive digital format that’s easy for students to load onto their iPods and other devices. Choose the full set of downloads, which includes all of the music from the 6-CD set, or the brief set of downloads, a selection of core listening that replaces the former 3-CD set.

• To order the full set of downloads packaged with the paperback text, use ISBN 978-1-319-02402-4.

• To order the brief set of downloads packaged with the paperback text, use ISBN 978-1-319-02404-8.

save Money with the Loose-Leaf edition of Listen The loose-leaf edition does not have a traditional binding; its pages are loose and three-hole punched to provide flexibility and a low price to students. To order the loose-leaf edition on its own, use ISBN 1-4576-9698-3 or 978-1-4576-9698-5. To package the loose-leaf edition with CDs or downloads, visit macmillanhighered .com/catalog/listen or contact your Macmillan sales representative.

Instructor Resources macmillanhighered.com/catalog/listen You have a lot to do in your course. Bedford/St. Martin’s wants to make it easy for you to find the support you need — and to get it quickly. All of the follow- ing resources are available for download from the Bedford/St. Martin’s online catalog at the URL above.

The Instructor’s Resource Manual, prepared by Mark Harbold of Elm- hurst College, is the most comprehensive teaching guide to accompany any music appreciation textbook. In addition to chapter overviews and suggested teaching objectives, the instructor’s manual includes detailed suggestions for lectures, demonstrations, class discussions, and further listening. The manual is provided as a PDF file.

Additional Listening Charts and Additional Texts and Translations make it easy to add works not discussed in this edition of Listen to your course.

The Index of Terms and Musical Examples suggests examples from the Listen recordings to illustrate key terms and concepts from the book.

PowerPoint Presentations outline the main points of each chapter and contain selected visuals from the book. You can download, edit, and customize the slides to create your own presentations.

The Test Bank contains more than 1,800 multiple choice and essay ques- tions designed to assess students’ comprehension and listening skills. The Test Bank is available for download in Microsoft Word format or in a computerized test bank format that offers additional editing and customization features. Answer keys are included.

DVDs of complete performances of works discussed in this edition are available to qualified adopters. For information, contact your Macmillan sales representative.

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 29 21/11/14 10:38 PM

http://www.macmillanhighered.com/catalog/listen
http://www.macmillanhighered.com/catalog/listen
http://www.macmillanhighered.com/catalog/listen
http://www.macmillanhighered.com/catalog/listen
xxx

Music matters to us. It may not carry us through our moment-to-moment interactions with one another, the way language does, or frame our ideas in words. It may not carry us from one place to another, refrigerate and cook our food, or enable us to search the Internet, as our advanced technologies do. It may even be less important to our immediate comfort, as an old joke has it, than indoor plumbing. Yet it matters to us, and matters deeply.

Every reader of this book comes to it having grown up surrounded by music of one type or another — usually, these days, of many types. Most readers have counted musical experiences among the important formative moments of their lives. And in fact it is hard for us to think of major events without music: a ceremony, a parade, a holiday, a party. Music saturates human societies — all of them, without exception.

Perhaps you have wondered just why music matters so much. If so, you’re not alone. Philosophers, psychologists, musicologists, and many others have been asking the same question in a line stretching all the way back to Plato, 2,500 years ago, and probably farther than that. The answers are not easy to come by, but in general they involve the ways in which music seizes us, commands our attention, changes our outlook, arouses our emotions, even transforms us — in short, the ways music moves us.

Music in ceremony: The University of Maryland band marches in the presidential inauguration. Katherine Frey/The Washington Post via Getty Images.

Introduction To the Student

I n T R o D u C T I o n | To the Student

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 30 21/11/14 10:38 PM

I n T R o D u C T I o n | To the Student xxxi

It is the basic premise of this book that these experiences can be deepened by careful study devoted to the music at hand. We can extend music’s transformative powers by thinking about how it is put together, how it relates to other music and other arts, and when and where it was made, and then, above all, by taking this knowledge and listening carefully again and again. We did not choose our title, after all, by accident: Listen!

Classical Music — and Other Kinds Listen cannot survey all types of music; to do so would require not one book but very many indeed. The particular tradition of music to which we devote our attention is what has come to be known as classical music; but this term, if it is unavoidable, is also vague and in need of some preliminary explanation.

Classical or classic is ordinarily used to describe something old and established, and valued on that account. Think of the classical antiquity of Greece and Rome, classic literature, classic movies, or classic rock from the 1960s and 1970s. Classical music, in the way we use the term, refers to a tradition extending over more than a thousand years, practiced mainly (until recently) in Europe, and cultivated especially by privileged levels of society. Sometimes this tradition goes under other names: Western music, music of the Western tradition, or even simply art music — though this should not be taken to imply that other kinds of music are not art.

The classical in classical music has come to contrast this tradition with another kind of music, popular music, especially the multiple branches of popular music that evolved across the twentieth century from African American roots. This development, which embraces everything from spirituals to jazz and the blues, from ragtime to hip-hop, and from Elvis and the Beatles to Beyoncé and the latest winner of The Voice, has been so important in recent decades that it has threatened to cast classical music completely into the shadows. It is not the central focus of Listen, but it is a major force in music, and we take stock of it in a chapter at the end of the book.

In the orchestra pit and onstage: rehearsal at the National Ballet of Canada. Mike Slaughter/Toronto Star/ Getty Images.

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 31 21/11/14 10:38 PM

We also take up other kinds of music for comparison. All through this book we make sidelong glances toward musical traditions from around the world, from outside the Western classical heritage: Chinese, Native American, African, and more. The Global Perspectives inserts in which these non-Western traditions are raised do not attempt to do justice to the great richness of these traditions. Instead, they aim to point up broad similarities between them and Western traditions — similarities of musical technique or of the social uses of music, or sometimes of both together.

Classical Music and History The classical tradition, as we said above, has extended over a thousand years. Across this long span of time, the tradition has evolved and been transformed many times over; but it has also endured. It has provided many, many generations of listeners with pleasure, joy, inspiration, and solace, and it can do the same for us.

It is also true, however, that the classical music most performed and listened to today comes from a period of European history shorter than a millennium. It stems especially from the eighteenth and nineteenth centuries, the period from around 1700 to 1900, beginning with Vivaldi, Bach, and Handel, including Haydn, Mozart, and Beethoven, and concluding with Mahler, Debussy, and Stravinsky. This central historical period of classical music, together with its outgrowths across the twentieth century and into our own time, forms the main coverage of Listen. This coverage is a historical one in that it is arranged in chronological order, with careful attention paid to the sequence of musical styles and to the influence of each on successive ones.

At the same time, we do not ignore the earlier centuries of the millennium of classical music. These, from about 1000 c.e. up to 1700 c.e., have a unit of their own, which your instructor might or might not choose to emphasize. This so-called early music is also presented in historical sequence.

Throughout all this historical coverage, we have endeavored to choose the most moving, transformative, and enduring — to use those three words once more — individual works for you to study and listen to. Your listening will, we hope, be entertaining; but it will also be something deeper than entertainment. These musical works provide knowledge—or if not exactly knowledge, insight into the human experience as it extends over time. Music historians devote themselves not only to the appreciation of music from the past but also to an appreciation of the ways in which it captures experiences of past lives. It conveys these things in ways that are distinctly musical — different from the ways of a poem, a novel, a painting, or a statue.

Listening The different ways music captures experiences bring us back once more to listening. Listening to recordings is the crucial assignment necessary for all those who would make productive use of this book. It is not the only way to experience music, of course. We hope that you will never forget about the possibility of performing music, at whatever level you can manage: from singing in the shower or strumming a guitar in your room to playing in your college symphony, forming a garage band, or singing in your college musical. We hope also that you will take advantage of opportunities around you to

I n T R o D u C T I o n | To the Studentxxxii

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 32 21/11/14 10:38 PM

hear live music. Recordings are not the same as live music. No matter how faithful a reproduction of sound they are, they lack the physical pleasure of performing and the immediacy and empathy struck up among performers or among performers and audience in live-music situations.

Since, however, the main experience of music on which this book relies is listening to recordings, it is worth a few words to describe how we think this should be undertaken. Often you just hear music rather than listening to it — hear it out of the corner of your ear, so to speak. The center of your attention is somewhere else: on the car ahead of you cutting in from the next lane, on the organic chemistry you’re studying while the music plays in the background, on the text message coming in from your friend, and so on. It’s necessary to turn this hearing into true listening, to make a listen- ing commitment to music, comparable in its way to the dedication of the composers and performers who create it. Background listening isn’t enough, for real listening requires recognizing specific events in the music as it goes by in time, holding them in your memory, and relating them to one another in your mind. Classical music requires full attention to yield its full rewards.

J. K. G. T.

I n T R o D u C T I o n | To the Student xxxiii

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 33 21/11/14 10:38 PM

w

How to use This Book To foster your appreciation of music, Listen contains a number of features to help focus your listening and further your understanding.

To help you listen closely to the music Listening Charts for instrumental music are an integral feature of this text. In essence, the Listening Charts are tables of the main musical events of the pieces they represent, with brief explanatory notes where needed. Repeated listening is useful. We suggest that you first listen to the music by itself, then read the discus- sion of the piece of music in the text, and then listen again while following along with the Listening Chart. Read again, listen again. Interactive versions of these charts can be found in LaunchPad for Listen (see page xxxvii).

Listening Exercises in Unit I function in the same way to help you practice listening for fundamental elements of music such as rhythm, melody, and form. Music for these exercises can be found on the Unit I CD at the back of the book as well as in LaunchPad for Listen.

I n T R o D u C T I o n | To the Studentxxxiv

Rhythm, Meter, and Syncopation

For samples of duple, triple, and compound meters, and of syncopation, listen to the following music on the Unit I CD or in LaunchPad for Listen.

Duple meter Scott Joplin, “Maple Leaf Rag” Count ONE two | ONE two . . . etc., for about half a minute.

Duple meter Beethoven, “Joy Theme” from Symphony No. 9, IV Schubert, from String Quartet in A Minor, I

Count ONE two THREE four | ONE two THREE four . . . etc.

Triple meter

Britten, The Young Person’s Guide to the Orchestra Count ONE two three | ONE two three . . . etc.

Compound meter Beethoven, from Piano Concerto No. 5 (“Emperor”), III

Count ONE two three FOUR | ONE two three FOUR six . . . etc.

Syncopation In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its steady ONE two | ONE two beat in duple meter, while the right hand cuts across it with syncopations in almost every e.

L I S T E N I N G E X E R C I S E 1

1

5, 7

3, 10

8

1

Unit I

−− Ł \

Ł Ł Ł Ł Ł Ł Ł Ł Ł ¼

−− Ð

[ ð ý ¹ Ł Łl Łl Ł

l ¼

−− ð ý \

− ýŁð¦Ł ¼ Ł Ł Ł Ł Ł

−− Ł

[ ŁŁ ŁŁŁŁŁŁŁŁ Ł

Ł ŁŁ

(Molto allegro) Sonata form. 8 min., 14 sec.

E X P O S I T I O N

0:01

0:25

0:34

Theme 1 (main theme)

Bridge

Theme 1, p, minor key (G minor); repeated cadences f

Theme 1 repeats and begins the modulation to a new key.

Bridge theme, f,

CADENCE Abrupt stop

Second Group

0:53

1:04

1:22

1:48

Theme 2

Cadence theme

Theme 2, p, in major key; phrases divided between wood- winds and strings

Theme 2 again, division of phrases is reversed.

Other, shorter ideas, f, and p: echoes of theme 1 motive

Cadence theme, f, downward scales followed by repeated cadences

CADENCE Abrupt stop

2:04 Exposition repeated

D E V E LO P M E N T

4:10

4:26

Theme 1 developed

Contrapuntal

Theme 1, p, modulating

Sudden f: contrapuntal treatment by the full orchestra of

L I S T E N I N G C H A R T 7

0:11

0:29

0:55

1:11

0:16

2 | 14–19 37 13

14

15

16

Full set of downloads

6-CD set LaunchPadDisc number/ Track number

Brief set of downloads

Time elapsed since start of piece

Time elapsed since start

of current track

CD track numbers

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 34 21/11/14 10:38 PM

w

CHAPTER

16 Many terms we use for historical periods in the arts came into use only after the fact. Baroque, as a designation for a style period in music, was adopted from the field of art history by musicologists in the twentieth century. The term Romantic, instead, was used by the Romantics themselves. It first took hold in literature, and by the time the earliest Romantic

composers began their careers in the 1820s, their literary contemporaries were already excitedly talking about “Romantic” music.

This tells us two important things about music after the time of Beethoven. One is that, largely thanks to Beethoven, people had become highly aware of music as a major art. Music was treated with a new respect in cultivated circles; it was taken seriously in a way it never had been before.

The other is that it seemed quite natural for observers of the time to link up developments in music with parallel developments in literature. From Homer and Virgil to Shakespeare and Milton, literature had always been considered the most important and most convincing of the arts. The prestige and power of literature were now freely extended to music.

This fact is illustrated in a painting much admired at midcentury, showing a group of literary lions and lionesses listening reverently to Franz Liszt at the piano (see page 219). Their expressions tell us how profoundly the music moves them; their aesthetic experience is very different, clearly, from the casual enjoyment of eighteenth-century listeners pictured on page 133. The painting shows also how important Beethoven was in bringing about this change. Liszt gazes soulfully at Beethoven’s larger-than-life bust. Does it rest on the books stacked on the piano, or loom outside the window, gigantic, against the turbulent sky?

1 | Romanticism Romantic literature and literary theory flourished particularly in and around the first two decades of the nineteenth century. In England, this was a great age of poetry: Wordsworth, Coleridge, Shelley, Keats, and Byron. There was also a brilliant outpouring of German Romantic literature during the same period, though the names of its writers are less familiar in the English-speaking world: Tieck, Novalis, Kleist, Hölderlin, and E. T. A. Hoffmann.

For us, the word romantic refers to love; this usage dates from the nineteenth

Music after Beethoven: Romanticism

P R E L U D E

The Cult of Individual Feeling Striving for a better, higher, ideal state of being was at the heart of the Romantic movement. Everyday life seemed dull and meaningless; it could be transcended only through the free exercise of individual will and passion. The rule of feeling, unconstrained by convention, religion, or social taboo (or anyone else’s feelings, often enough) — this became the highest good. Emotional expression became the highest artistic goal. “Bohemians,” as they were disparagingly called at the time, proclaimed romantic love, led irregular lives, and wore odd clothes. We have the Romantics to thank for this familiar image of the artist, still around today.

These attitudes may be laid at the door of Jean-Jacques Rousseau — the same Enlightenment philosopher who had spoken up in the mid-eighteenth century for “natural” human feelings, as opposed to the artificial constraints imposed by society (see page 153). Hailed as the philosophical father of the French Revolution, Rousseau provided the Romantics with the ideal of individual, as well as political, freedom and fulfillment. We have also seen Rousseau as a proponent of a “natural” music, and indeed his own music was still being played

The power of Romantic music: Liszt as the inspiration for novelists Alexandre Dumas, Victor

Countess d’Agoult (see page 247). In the back, opera composer Gioacchino Rossini embraces violin virtuoso Niccolò Paganini. Bettmann/CORBIS.

To help you understand the historical and cultural context Prelude chapters introduce you to the historical and cultural background of four important eras of music — the Baroque and Classical eras, the nineteenth century, and the twentieth century to the present. Each prelude chapter also describes the stylistic features of the music you will study.

I n T R o D u C T I o n | To the Student xxxv

Verdi, Rigoletto, from Act III, scene i

The stage is divided, showing the inside and the outside of a sordid inn.

R E C I TAT I V E

The Duke enters the inn.

0:03 Gilda:

Duke:

Sparafucile:

Duke:

Rigoletto:

Sparafucile:

(Ah! padre mio!)

Due cose, e tosto:

Quali?

Una stanza e del vino.

(Son questi i suoi costumi.)

(Oh il bel zerbino!)

(Ah! dear father!)

Two things, and right now.

What?

A room and some wine.

(That’s the way he does things.)

(Big spender!)

A R I A

0:12 0:29

1:28

Duke: La donna è mobile / Qual pium’ al vento, Muta d’accento / E di pensiero. Sempre un amabile / Leggiadro viso, In pianto o in riso / È menzognero. La donna è mobil’ / Qual pium’ al vento, Muta d’accento / E di pensier!

È sempre misero / C / Mal cauto il core!

Pur mai non sentesi / Felice appieno Chi su quel seno / Non liba amore. La donna è mobil’ . . .

Changing her words and thoughts, She’s a lovable, sweet sight, When she’s weeping or laughing, she’s lying.

Changing her words and thoughts!

Man’s always wretched who believes her; If you trust her, watch out for your heart! Yet he’ll never feel happy Who from that breast does not drink love!

Sparafucile gives the Duke a bottle of wine and glasses, then goes outside to Rigoletto.

R E C I TAT I V E

L I S T E N

1:11

1

2

3

4 | 1–6 59–60 28–29

Listen guides are specially tailored for vocal music. They are similar to Listening Charts, but instead of explanatory notes, these charts contain the words of the piece in the origi- nal language and in an English translation.

Recordings are available for purchase in several different formats; visit macmillanhighered.com/ catalog/listen for more infor- mation. For a complete list of the music discussed in Listen, see the Guide to Recordings on the inside front cover.

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 35 21/11/14 10:38 PM

http://www.macmillanhighered.com/catalog/listen
http://www.macmillanhighered.com/catalog/listen
ww

Chronologies at the beginning of each unit list the works you will study in the order in which they were composed and are accompanied by an overview of the relevant era.

Additional boxes introduce you to interesting topics related to the music you’re studying, such as events in music history, aspects of performance, or social and cultural trends.

Biography boxes throughout the book offer some personal background on each of the major composers you will study, as well as lists of additional works you might want to seek out for further listening.

Mahler’s early life was not happy. Born in Bohemia to an abusive father, he lost five of his brothers and sisters to diphtheria, and others ended their lives in suicide or mental illness. The family lived near a military barracks, and the many marches incorpo- rated into Mahler’s music — often distorted marches — have been traced to his childhood recol- lections of parade music.

After studying for a time at the Vienna Conserva- tory, Mahler began a rising career as a conductor. His uncompromising standards and his authoritarian attitude toward the musicians led to frequent disputes with the orchestra directors. What is more, Mahler was Jewish, and Vienna at that time was rife with anti-Semitism. Nonetheless, he was acknowledged as one of the great conductors of his day and also as a very effective musical administrator. After positions at Prague, Budapest, Hamburg, and elsewhere, he came to head such organizations as the Vienna Opera and the New York Philharmonic.

It was only in the summers that Mahler had time to compose, so it is not surprising that he produced fewer pieces (though they are very long pieces) than any other important composer. Ten symphonies, the last of them unfinished, and six song cycles for voice and orchestra are almost all he wrote. The song cycle The Song of

is often called Mahler’s greatest masterpiece.

Mahler’s wife was a famous Viennese beauty, Alma Schindler. By a tragic coincidence, shortly after he wrote his grim orchestral song cycle Songs on the Death of Children, his and Alma’s youngest daughter died of scarlet fever.

Beyond this tragedy, Mahler’s life was clouded by psychological turmoil, and he once consulted his famous Viennese contemporary Sigmund Freud. His disputes with the New York Philharmonic directors, which discouraged him profoundly, may have contributed to his premature death.

Chief Works: Ten lengthy symphonies, several with chorus, of which the best known are the First, Fourth, Fifth, and Ninth j Orchestral song cycles: The Song of the Earth, Songs of a Wayfarer, The Youth’s Magic Horn (for piano or orchestra), Songs on the Death of Children

Encore: After Symphony No. 1, listen to the Adagietto from Symphony No. 5; Songs of a Wayfarer.

Biography

Gustav Mahler (1860–1911)

I n T R o D u C T I o n | To the Studentxxxvi

HOW DID EARLY MUSIC SOUND? Because sound recording is only about a hundred years old, the hard truth is that we do not really know how the music of Beethoven sounded in 1800, or the music of Bach in 1700. We have the scores, and it may be that tradition, writings, anecdotes, and surviving instruments allow us to extrapolate from score to sound with some confidence. But what about early music — music from 1500, 1300, 1100?

Obsolete instruments have come down to us in an imperfect condition, and we can try to reconstruct them; but figuring out how they were actually played is much more speculative. As for singing, who can guess what a cathedral choir, to take just one example, sounded like in the Middle Ages? Since then, language itself has changed so much that it is hard enough to read a fourteenth- century poet such as Geoffrey Chaucer, let alone imagine how the words that he wrote were pronounced — or sung.

Another set of problems involves the way early music was written down. Its composers never indicated the tempo and rarely specified the instrumental or vocal forces that they anticipated for their music. With vocal pieces, they did not say whether one singer or a whole choir was to sing. It has taken generations of patient research and experiment to “reconstruct” the probable sounds of early music.

The Countess of Dia holding forth; she was one of a small number of women troubadours. Bibliothèque Nationale de France.

This unit covers music from around 1900 on and brings our survey

up to the present. Looking back to the year 1900, we can recognize

today’s society in an early form. Large cities, industrialization,

inoculation against disease, mass food processing, the first

automobiles, telephones, movies, and phonographs — all were in

place by the early years of the twentieth century. Hence the society

treated in this unit will strike us as fairly familiar, compared to the societies of

earlier centuries.

But the classical music produced in this period may strike us as anything but

familiar. Around 1900, classical music experienced some of the most dramatic

and abrupt changes in its entire history. Along with the changes came a wider

variety of styles than ever before. At times it seemed almost as if each composer

felt the need to create an entirely individual musical language. This tendency

toward radical innovation, once it set in, was felt in repeated waves throughout

the twentieth century. This vibrant, innovative, and unsettling creativity comes

under the label “modernism.”

Another development of great importance occurred around 1900: the widening

split between classical and popular music. A rift that had started in the nineteenth

century became a prime factor of musical life, giving rise to new traditions of

American popular music. With the evolution of ragtime and early jazz, a vital

rhythmic strain derived from African American sources was brought into the

general American consciousness. This led to a long series of developments: swing,

bebop, rhythm and blues, rock, rap, and more.

In this unit we sample the variety of musical modernism and glimpse the

movement’s outgrowths around the turn of the new millennium. The final chapter

deals with America’s characteristic popular music.

UNIT

V

The Twentieth Century and Beyond

Chronology 1899 Debussy, Clouds p. 313

1906 Ives, The Unanswered Question p. 333

1909 Ives, Second Orchestral Set p. 331

1912 Schoenberg, Pierrot lunaire p. 321

1913 Stravinsky, The Rite of Spring p. 317

1913 Webern, Five Orchestral Pieces p. 362

1923 Berg, Wozzeck p. 324

1927 Thomas, “If You Ever Been Down” Blues p. 387

1928 Crawford, Prelude for Piano No. 6 p. 345

1930 Still, Afro-American Symphony p. 348

1931 Ravel, Piano Concerto in G p. 337

1936 Bartók, Music for Strings, Percussion, and Celesta p. 341

1938 Alexander Nevsky Cantata p. 354

1940 Ellington, “Conga Brava” p. 391

1945 Copland, Appalachian Spring p. 350

1948 Parker and Davis, “Out of Nowhere” p. 395

1952 Cage, 4’ 33” p. 367

1957 Bernstein, West Side Story p. 399

1958 Varèse, Poème électronique p. 364

1966 Ligeti, Lux aeterna p. 366

1969 Davis, Bitches Brew p. 396

1974–1976 Reich, Music for 18 Musicians p. 369

1991 León, Indígena p. 375

2005 Adams, Doctor Atomic p. 377

2006 Crumb, Voices from a Forgotten World (American Songbook, Volume 5) p. 374

By the early twentieth century, industrialization had come to touch every aspect of life, from entertainment to warfare. In The Twittering Machine, from 1922, by Swiss-German artist Paul Klee (1879–1940), singing birds are attached to a crank apparatus. Is the image a message about the mechanization of music, or does its living song challenge the machine? Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 36 21/11/14 10:38 PM

ww

Global Perspectives sections provide brief glimpses of music from non-Western cultures. These sections point out some of the shared features as well as differences among a broad range of musical traditions.

Glossary terms are high- lighted throughout the text to help you identify and study key terms defined in the Glossary at the back of the book.

To help you study and review Goals for Review at the end of each chapter point out key concepts that you should review and understand before moving on to the next chapter.

I n T R o D u C T I o n | To the Student xxxvii

The vast number of societies that exist or that have existed in this world all generated their own music — or, as we say, their own different “musics.” Often they are very different indeed; the first time South African Zulus heard Christian hymn singing they were amazed as much as the missionaries were when they first heard Zulu music.

Yet for all their diversity, the musics of the world do show some parallels, as we are going to see in the Global Perspectives sections of this book. There are parallels of musical function in society, of musical technique, and sometimes of both together.

Often these parallels come about as the result of influences of one society on another — but influences are never accepted without modification and the blending of a foreign music with native music. At other times parallels appear in musics that have nothing whatsoever to do with one another. Considering all these parallels, we have to believe that certain basic functions for music and certain basic technical principles are virtually universal in humankind.

One of these near-universal features — and one of the most fundamental — is the role of music in the service of religion. Singing serves across the world as

Global Perspectives

of the Middle Ages (see pages 44–49) is only one of many traditions of monophonic religious chant, albeit one of the more elaborate.

Islam: Reciting the Qur’an

Another highly elaborate tradition of chant is found in Islam, practiced today by about a fifth of the world’s population, and the domi-

nant religion in some fifty nations. Across all of Islam, the revelations of the prophet Muhammad gathered in the Qur’an (or Koran) are chanted or sung in Arabic. Muhammad himself is said to have enjoyed this melodic recitation.

Usually Qur’anic recitation is rigorously distin- guished from all types of secular music making. It is thought of as “reading” the sacred text aloud, not singing it; nonreligious activities such as singing or playing instruments might be referred to as music (musiqi), but reading the Qur’an is not.

Given these distinctions, it is not surprising that m

ISLAM

Sacred Chant

Any recurring pattern of strong and weak beats, such as the ONE two and ONE two three we have referred to above, is called a meter. Meter is a strong/ weak pattern repeated again and again.

Each occurrence of this repeated pattern, consisting of a principal strong beat and one or more weaker beats, is called a measure, or bar. In Western music there are only two basic kinds of meter: duple meter and triple meter.

• In duple meter the beats are grouped in twos (ONE two | ONE two) or in fours (ONE two THREE four | ONE two THREE four). Duple meter is instantly familiar from marches — such as “Yankee Doodle” — which tend always to use duple meter in deference to the human anatomy (LEFT right, LEFT right, LEFT right):

from that need to resolve. Dissonance was to be free from the rule that says it must always be followed by the appropriate consonance.

Tonality, as we know, is the feeling of centrality, focus, or homing toward a particular pitch that we get from simple tunes and much other music. As melody grew more complex and harmony grew more dissonant, tonality grew more indistinct. Finally, some music reached a point at which no tonal center could be detected at all. This is atonal music.

Melody, harmony, tonality: All are closely related. Beleaguered conservatives around 1900 referred to them jokingly as the “holy trinity” of music. The “ emancipation” of melody, harmony, and tonality all went together. This joint emancipation counts as the central style characteristic of the first phase of twentieth-century avant-garde music.

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

c to understand artistic modernism c. 1900 as a response to innovation and its uncertainties

c to explore similar tendencies in modernist literature, pictorial art, and music

c to come to know some general stylistic features of early modernist music

macmillanhighered.com/listen8e Reading Quiz for Chapter 20

Resources in LaunchPad for Listen are signaled by icons and cross- references throughout the book to macmillanhigh- ered.com/listen8e. LaunchPad includes an interactive e-book with streaming music, interactive versions of the Listening Charts, quizzes to help you study chapter concepts and practice your listening skills, and more. If your instructor recommends that you purchase LaunchPad, see the inside back cover for more information about how to get access.

to help you identify and study key terms defined in the Glossary at the back of

principal strong . In Western Western W

principal

Glossary terms lighted throughout the text to help you identify and

as the ON two and . Meter

Glossary terms lighted throughout the text to help you identify and

ONE two and Meter is a strong/

01_KER_6985_FM_i-xxxviiiv5.0.5.indd 37 21/11/14 10:38 PM

http://www.macmillanhighered.com/listen8e
This page intentionally left blank

LISTEN

02_KER_6985_ch01_001-009v5.0.3.indd 1 22/11/14 6:11 AM

UNIT

I

Fundamentals The basic activity that leads to the love of music and to its under-

standing is listening to particular pieces of music again and again.

The pages of this book are filled mostly with discussions of musi-

cal compositions — symphonies, operas, concertos, songs, and the

like — that people have found more and more rewarding as they

have listened to them repeatedly. These discussions are meant to

introduce you to the contents of these works and their aesthetic qualities: what

goes on in the music, and how it affects us.

For these discussions we need a familiarity with musical concepts and musi-

cal vocabulary, since analyzing things, pinpointing things, and even simply using

the right names for things all make us more actively aware of them. This intro-

ductory unit provides this familiarity, covering the basic elements of music and

their standard terminology.

Chapter 1 presents the most basic aspect of music, its organization in time,

or rhythm, and introduces important features of this organization: meter and

tempo. Chapter 2 takes up other basic features of musical sound — pitch, dynam-

ics, and tone color — and also the instruments of the modern orchestra. Then

Chapters 3 and 4 delve into some additional complexities of pitch — scales,

melody, harmony, and more — and explore how musicians use these to organize

pieces of music. Chapter 5 carries the discussion one stage further, to include

musical form and style.

02_KER_6985_ch01_001-009v5.0.3.indd 2 22/11/14 6:11 AM

(Upper left) Alvis Upitis/Getty Images. (Right) Colorblind/Exactostock/Superstock. (Lower left) Jim Wilson/The New York Times/Redux.

3

02_KER_6985_ch01_001-009v5.0.3.indd 3 22/11/14 6:11 AM

4 U n i t i | Fundamentals

Music is the art of sound in time. Its unfolding in time is the most basic place to start understanding it. This aspect of music is summed up by the term rhythm.

1 | Rhythm The fundamental role of rhythm in the experience of music is taken for granted in our culture — and in most other cultures as well. Rhythm is the main driving force in music both popular and classical, music of all ages and all cultures.

In a more specific sense, “a rhythm” refers to the actual arrangement of durations — long and short notes — in a particular melody or some other musical passage. Of course, the term rhythm is also used in other contexts, about quarterbacks, poems, and even paintings. But no sport and no other art handles rhythm with as much precision and refinement as music.

Beat and Accent Beats provide the basic unit of measurement for time in music; if ordinary clock time is measured in seconds, musical time is measured in beats. When listening to a marching band or a rock band, to take two clear examples, we

“Rhythm might be described as, to the world of sound, what light is to the world of sight. It shapes and gives new meaning.”

Edith Sitwell, poet and critic, 1965

Rhythm, Meter, and Tempo

Chapter

1

The repeating patterns in architecture often give an impression similar to repeating beats in music; in this instance, there seems to be no distinction of strong and weak beats. Chris Hellier/Getty Images.

02_KER_6985_ch01_001-009v5.0.3.indd 4 22/11/14 6:12 AM

C H A P t E R 1 | Rhythm, Meter, and Tempo 5

sense a regular recurrence of short pulses. These serve as a steady, vigorous background for other, more complicated rhythms that we discern at the same time. Sometimes we can’t help beating time to the music, dancing to it, waving a hand or tapping a foot. The simple pulse being signaled by waving, tapping, or dancing is the music’s beat.

There is, however, an all-important difference between a clock ticking and a drum beating time. Mechanically produced ticks all sound exactly the same, but it is virtually impossible for people to beat time without making some beats more emphatic than others. This is called giving certain beats an accent. And accents are really what enable us to beat time, since the simplest way to do this is to alternate accented (“strong”) and unaccented (“weak”) beats in patterns such as one two | one two | one two . . . or one two three | one two three | one two three. . . . To beat time, then, is not only to measure time according to a regular pulse but also to organize it, at least into these simple two- and three-beat patterns.

2 | Meter Any recurring pattern of strong and weak beats, such as the one two and one two three we have referred to above, is called a meter. Meter is a strong/ weak pattern repeated again and again.

Each occurrence of this repeated pattern, consisting of a principal strong beat and one or more weaker beats, is called a measure, or bar. In Western music there are only two basic kinds of meter: duple meter and triple meter.

• In duple meter the beats are grouped in twos (one two | one two) or in fours (one two three four | one two three four). Duple meter is instantly familiar from marches — such as “Yankee Doodle” — which tend always to use duple meter in deference to the human anatomy (left right, left right, left right):

Yan-kee doo-dle came to town . . .

one two one two

• In triple meter the beats are grouped in threes (one two three | one two three). Our oldest national songs, “The Star-Spangled Banner” and “My Country, ’Tis of Thee,” are in triple meter:

Oh, say can you see . . . My coun- try, ’tis of thee . . .

one two three one one two three one two three

Two other national songs, “America the Beautiful” and “God Bless America,” are in duple meter.

• Often the main beats of duple and triple meter are subdivided into quicker pulses. This usually happens by dividing the main beat into either twos or threes. When the main beats are divided in twos, the meter is called a simple meter. Dividing the main beats in threes creates compound meters with two or three main beats and six or nine quicker ones:

The round “Row, Row, Row Your Boat” is in compound duple meter. While the first voice is moving at a fast six-beat clip at the words “Merrily, merrily, merrily, merrily,” the second voice comes in pounding out the basic duple meter, “row, row, row”:

one two one two three one two three four five six one two three four five six seven eight nine

02_KER_6985_ch01_001-009v5.0.3.indd 5 22/11/14 6:12 AM

6 U n i t i | Fundamentals

• Meters with five beats, seven beats, and so on have never been used widely in Western music, though they are found frequently enough in some other musical cultures. It was an unusual choice for nineteenth-century composer Pyotr Ilyich Tchaikovsky to have featured quintuple meter, five beats to a bar, in his popular Sixth Symphony.

Rhythm and Meter Rhythm in the most general sense refers to the entire time aspect of music and, more specifically, a rhythm refers to the particular arrangements of long and short notes in a musical passage. In most Western music, duple or triple meter serves as the regular background against which we perceive music’s actual rhythms.

We can see that the musical rhythms need not always coincide with the regular beats of the meter. And, as the rhythm first coincides with the meter, then cuts across it independently, then even contradicts it, all kinds of variety, tension, and excitement can result.

Musical notation has developed a conventional system of signs (see Appendix B) to indicate relative durations, or long and short notes; combining various signs is the way of indicating rhythms. Following are examples of well- known tunes in duple and triple meters. Notice from the shading (even better, sing the tunes to yourself and hear) how the rhythm sometimes corresponds with the beats of the meter and sometimes departs from them. The shading indicates passages of rhythm-meter correspondence:

00 Ł ý Ł ý

Łn Ł

Ł Ł

Ł ý Ł ý

Ł

Ł Ł

Ł ý Ł ý

Ł

Ł Ł

ð ð

Łn Ł

Ł Ł

Ł

Ł Ł

Ł

Ł Ł

Łn

Ł Ł

Ł

Ł Ł

Ł Ł

Ł

Ð Ð

Łn Ł Ł Ł

Rhythm:

Duple meter: Ł

Glo - ry, glory halle-lu - jah, His truth is marching on.

−− /0 Ł ý Ł ý

Ł Ł

Ł

Ł

Łn

Ł Ł

Ł

Ł Ł

Ł

ð ð

Łn Ł

Ł ý Ł ý

Ł

Ł Ł

Ł Ł

Łn

Ł Ł

Ł

Ł Ł¦

Ł

ð ð

Łn Ł

Ł ý Ł ý

Ł

Ł Ł

Ł ý Ł ý

Łn Ł

Ł Ł

Ł Ł

Ł

ð ð

Łn Ł

Ł ý Ł ý

Ł

Ł Ł

Ł Ł

Łn

Ł Ł

Ł

Ł Ł

Ł

Ł Ł

Łn

Ł

Ł

Ł

Rhythm:

Triple meter:

Oh, say can you see By the dawn’sear- ly light What so proud - ly we hailed At the twilight’s last gleaming

The above examples should not be taken to imply that meter is always emphasized behind music’s rhythms. Often the meter is not explicitly beaten out in the music’s rhythms. It does not need to be, for the listener can almost

first voice:

Row, row, row your boat gently down the stream, Merrily, merrily, merrily, merrily, 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 one two one two one two one two one two one two

second voice: Row, row, row . . . one two one two

02_KER_6985_ch01_001-009v5.0.3.indd 6 22/11/14 6:12 AM

C H A P t E R 1 | Rhythm, Meter, and Tempo 7

always sense it under the surface. Naturally, meter is strongly stressed in music designed to stimulate regular body movements, such as marches, dances, and much popular music.

At the other extreme, there is nonmetrical music. In such music, the rhythms suggest no underlying pattern of strong and weak beats at all. For example, the meandering, nonmetrical rhythms of Gregorian chant contribute to the cool, otherworldly, and spiritual quality that devotees of this music cherish.

Syncopation One way of obtaining interesting, striking effects in music is to move the accents in a foreground rhythm away from their normal position on the beats of the background meter. This may seem counterintuitive, but it works. In syncopation, as it is called, accents can be displaced so they go one two | one two (weak strong | weak strong) instead of the normal one two | one two (strong weak | strong weak). Or syncopation can occur when an accent is placed in between beats one and two, as in this Christmas ballad:

Ru-dolf __ the red - nosed rein - deer __________________

one two | one two | one two | one two

The consistent use of syncopation is the hallmark of African American– derived popular music, from ragtime to rap. See Chapter 24, and listen to the lively, uneven, syncopated rhythms of Scott Joplin’s “Maple Leaf Rag” in Listening Exercise 1.

3 | Tempo Our discussion so far has referred to the relative duration of sounds — all beats are equal; some notes are longer than others, and so on — but nothing has been said yet about their absolute duration, in fractions of a second. The term for the speed of music is tempo; in metrical music, the tempo is the rate at which the basic, regular beats of the meter follow one another.

Rhythm, Meter, and Syncopation

For samples of duple, triple, and compound meters, and of syncopation, listen to the following music on the Unit I CD or in LaunchPad for Listen.

Duple meter Scott Joplin, “Maple Leaf Rag” Count one two | one two . . . etc., for about half a minute.

Duple meter Beethoven, “Joy Theme” from Symphony No. 9, IV Schubert, from String Quartet in A Minor, I

Count one two three four | one two three four . . . etc.

Triple meter Schubert, from Symphony No. 8 (“Unfinished”), I Britten, The Young Person’s Guide to the Orchestra

Count one two three | one two three . . . etc.

Compound meter Beethoven, from Piano Concerto No. 5 (“Emperor”), III

Count one two three four five six | one two three four five six . . . etc.

Syncopation In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its steady one two | one two beat in duple meter, while the right hand cuts across it with syncopations in almost every measure.

L I S t e N I N G e X e r C I S e 1

1

5, 7

3, 10

8

1

Unit I

02_KER_6985_ch01_001-009v5.0.3.indd 7 22/11/14 6:12 AM

8 U n i t i | Fundamentals

Tempo can be expressed exactly and measured by the metronome, a mechanical or electrical device that ticks out beats at any desired tempo. When composers give directions for tempo, however, they usually prefer approximate terms. Rather than freezing the music’s speed by means of a metronome, they prefer to leave some latitude for different performers. Because all European music looked to Italy when this terminology first came into use, the conventional terms for tempo are Italian:

COMMON TEMPO INDICATIONS LESS COMMON TEMPO INDICATIONS

adagio: slow largo, lento, grave: slow, very slow andante: on the slow side, but not too larghetto: somewhat faster than

slow largo moderato: moderate andantino: somewhat faster than

andante allegretto: on the fast side, but not too fast vivace, vivo: lively allegro: fast molto allegro: faster than allegro presto: very fast prestissimo: very fast indeed

It’s interesting that in their original meaning many of these Italian words refer not to speed itself but rather to a mood, action, or quality that can be associated with tempo only in a general way. Thus, vivace is close to our “vivacious,” allegro means “cheerful,” and andante, derived from the Italian word for “go,” might be translated as “walking along steadily.”

An early metronome owned by Beethoven; its inventor was a friend of his. A clockwork mechanism made the bar swing side to side, ticking at rates controlled by a movable weight. Musée de la Musique — Cité de la Musique, Paris, France/Giraudon, The Bridgeman Art Library.

Rhythm, Meter, and Tempo

A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous segments in different meters and tempos, here labeled A, B, C, and D.

0:00

0:33

0:49

1:45

2:24

3:47

3:56

4:26

A

B

C

D

The piano starts in duple meter (one two | one two). The loud orchestral interruptions are syncopated. (After the interruptions the meter is somewhat obscured, but it gets clearer.)

Clear duple meter by this time; then the music comes to a stop.

No meter. The piano seems to be engaged in a meditative improvisation, as if it is dreaming up the music to come.

Orchestral instruments suggest a slow duple meter? Not for long.

Slow triple meter (one two three | one two three)

Ritardando (getting slower)

Fast triple meter, assertive (note one or two syncopated notes)

Faster triple meter

L I S t e N I N G e X e r C I S e 2

Unit I | 2

02_KER_6985_ch01_001-009v5.0.3.indd 8 22/11/14 6:12 AM

C H A P t E R 1 | Rhythm, Meter, and Tempo 9

The most important terms to remember are those listed under “common tempo indications” on page 8. Composers often use tempo indications alone as headings for major sections, called movements, in long works. Musicians refer to the “Andante” of Beethoven’s Fifth Symphony, meaning a certain movement of the symphony (the second), which Beethoven specified should be played at an andante tempo.

G o a l s f o r r e v i e w

c to distinguish rhythm from meter

c to distinguish rhythm and meter from tempo

c to listen for duple, triple, and compound meter

macmillanhighered.com/listen8e Music for Listening Exercises 1 and 2 Listening Quiz for Chapter 1 Reading Quiz for Chapter 1

02_KER_6985_ch01_001-009v5.0.3.indd 9 22/11/14 6:12 AM

http://www.macmillanhighered.com/listen8e
10 U n i t i | Fundamentals

If you have taken a course in physics, you know that sound is produced by vibrations that occur when objects are struck, plucked, stroked, or agitated in some other way. These vibrations are transmitted through the air and picked up by our ears.

For the production of sound in general, almost anything will do — the single rusted hinge on a creaky door as well as the great air masses of a thunderstorm. For the production of musical sounds, the usual objects are taut strings and membranes and columns of air enclosed in pipes of various kinds. These produce relatively simple vibrations, which translate into clearly focused or, as we say, “musical” sounds. Often the membranes are alive: They are called vocal cords.

Sound-producing vibrations are very fast; the range of sound that humans can hear extends from around 20 to 20,000 cycles per second. The vibrations are also very small. To be heard, they often need to be amplified, either electronically or with the aid of some- thing physical that echoes or resonates along with the vibrating body. In a guitar or violin, the resonator is the hollow box that the strings are stretched across.

Musical sounds can be high or low, loud or soft, and can take on different qualities depending on the materials used to produce them. The musical terms for these aspects of sound are pitch, dynamics, and tone color.

1 | Pitch The scientific term for the rate of sound vibration is frequency. On the level of perception, our ears respond differently to sounds of high and low frequencies, and to very fine gradations in between. Indeed, people speak about “high” and “low” sounds quite unselfconsciously, as though they know that the latter actually have a low frequency — relatively few cycles — and the former a high frequency.

The musical term for this quality of sound, which is recognized so instinctively, is pitch. Low pitches (low frequencies) result from long vibrating elements, high pitches from short ones — a trombone sounds lower than a flute.

Pitch, Dynamics, and Tone Color

Natural objects can serve as resonators for musical instruments. Gourds are a favorite on two continents, used in Latin American maracas and the kalimba, an African “finger piano.” Saed Hindash/Star Ledger/CORBIS.

Chapter

2

03_KER_6985_ch02_010-021v5.0.1.indd 10 21/11/14 5:17 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 11

Noises, with their complex, unfocused vibrations, do not have pitch. Your college chorus divides up high and low pitches among four different groups of voices: sopranos (high females), altos (low females), tenors (high males), and basses (low males).

The totality of musical sounds serves as a kind of quarry from which musicians of every age and every society carve the exact building blocks they want for their music. We hear this totality in the sliding scale of a siren, starting low and going higher and higher. But musicians never (or virtually never) use the full range of pitches. Instead they select a limited number of fixed pitches from the sound continuum. These pitches are calibrated scientifically ( European-style orchestras these days tune to a pitch with a frequency of 440 cycles), given names (that pitch is labeled A), and collected in scales. Scales are discussed in Chapter 3.

2 | Dynamics In scientific terminology, amplitude is the level of strength of sound vibrations — more precisely, the amount of energy they contain and convey. As big guitar amplifiers attest, very small string vibrations can be amplified until the energy in the air transmitting them rattles the eardrums.

In musical terminology, the level of sound is called its dynamics. Musicians use subtle dynamic gradations from very soft to very loud, but they have never worked out a calibrated scale of dynamics, as they have for pitch. The terms used are only approximate. Like the indications for tempo, the terms used for dynamics are in Italian.

Pitch and Dynamics

High and low pitch and loud and soft dynamics are heard so instinctively that they hardly need illustration. Listen, however, to the vivid way they are deployed in one of the most famous of classical compositions, the “Unfinished” Symphony by Franz Schubert. Symphonies usually consist of four separate big segments, called movements; musicologists are still baffled as to why Schubert wrote two superb movements for this work and started but never finished the rest.

0:00

0:15

0:22

0:35

0:47

1:07

1:15

1:52

Quiet and mysterious

Rustling sounds

Wind instruments

Single sharp accent

Gets louder

Sudden collapse

New tune

Cuts off sharply; big sound

pitch

Low range

Middle range

High

Higher instruments added

First low, then high

dynamic

pp

sf (sforzando, “forcing”)

Long crescendo, leading to f, then ff, more accents

piano followed by diminuendo

(Marked pp by Schubert, but usually played p or mp)

ff, more accents

(Similar pitch and dynamic effects for the rest of the excerpt)

3:07

3:45

Sinking passage

Ominous

Individual pitches, lower and lower

Lowest pitch of all pp

L i s t e n i n g e x e r C i s e 3

Unit I | 3

03_KER_6985_ch02_010-021v5.0.1.indd 11 21/11/14 5:17 PM

12 U n i t i | Fundamentals

The main categories are simply loud and soft, forte (pronounced fór-teh) and piano, which may be qualified by expanding to “very loud” or “very soft” and by adding the Italian word for “medium,” mezzo (mét-so):

pianissimo piano mezzo piano mezzo forte forte fortissimo

pp p mp mf f ff

very soft soft medium soft medium loud loud very loud

Changes in dynamics can be sudden (subito), or they can be gradual—a soft passage swells into a loud one (crescendo, “growing”), or a powerful blare fades into quietness (decrescendo or diminuendo, “diminishing”).

3 | Tone Color At whatever pitch, and whether loud or soft, musical sounds differ in their general quality, depending on the instruments or voices that produce them. Tone color and timbre (tám-br) are the terms for this quality.

Tone color is produced in a more complex way (and a more astonishing way) than pitch and dynamics. Piano strings and other sound-producing bodies vibrate not only along their total length but also at the same time in half-lengths, quarters, eighths, and so on.

The diagrams above attempt to illustrate this. Musicians call these fractional vibrations overtones. They are much lower in amplitude — that is, softer — than the main vibrations; for this reason, we hear overtones not as distinct pitches, but somehow as part of the string’s basic or fundamental pitch. The amount and exact mixture of overtones are what give a sound its characteristic tone color. A flute has few overtones. A trumpet has many.

Musicians make no attempt to tally or describe tone colors; about the best one can do is apply imprecise adjectives such as bright, warm, ringing, hollow, or brassy. Yet tone color is surely the most easily recognized of all musical elements. Even people who cannot identify instruments by name can distinguish between the smooth, rich sound of violins playing together, the bright sound of trumpets, and the woody croaking of a bassoon.

The most distinctive tone color of all, however, belongs to the first, most beautiful, and most universal of all the sources of music — the human voice.

The singing voice, the most beautiful and universal of all sources of music: Renée Fleming, star of the Metropolitan Opera in New York, excels in an unusually wide variety of roles and is often heard singing popular standards. Nigel Norrington/ArenaPal/The Image Works.

Half-Length:Full-Length:

Quarter-Length and Three-Quarter-Length

Simultaneously:

STRING VIBRATIONS

03_KER_6985_ch02_010-021v5.0.1.indd 12 21/11/14 5:17 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 13

Violin and bow. Tom Chance/ Westend61/CORBIS.

Cello, violin, viola, and electric keyboard on London’s Millennium Bridge. Mike Kemp/In Pictures/Corbis.

MusiCAL iNsTRuMeNTs Different voices and different instruments produce differ- ent tone colors, or timbres. Enormous numbers of devices have been invented for making music over the course of history and across the entire world, and the range of tone colors they can produce is almost endless.

This section will discuss and illustrate the instruments of Western music that make up the orchestra, and a few others. Later, in our Global Perspectives sections, we will meet some instruments from other musical traditions.

Musical instruments can be categorized into four groups: stringed instruments or strings, woodwinds, brass, and percussion. Musical sound, as we know, is caused by rapid vibrations. Each of the four groups of instruments produces sound vibrations in its own distinct way.

Stringed instruments Stringed instruments produce their sound by means of taut strings attached to a sound box, a hollow box containing a body of air that resonates (that is, vibrates along with the strings) to amplify the string sound.

The strings themselves can be played with a bow, as with the violin and other orchestral strings; the bow is strung tightly with horsehair, which is coated with a substance called rosin so that the bow grips the strings to make them vibrate. With guitars and harps, the strings are plucked or strummed by the fingers or a small pick. Strings can be plucked on bowed instruments, too, for special effects. This is called pizzicato (pit-tzih-cáh-toe).

The Violin and Its Family The violin is often called the most beautiful instrument used in Western music. It is also one of the most versatile instruments; its large range covers alto and soprano registers and many much higher pitches. As a solo instrument, it can play forcefully or delicately, and it excels in both brilliant and songlike music. Violinists also play chords by bowing two or more of the four strings at once, or nearly so.

As with a guitar, the player stops the (four) violin strings with a finger — that is, presses the strings against the neck of the violin — to shorten the string length and get different pitches (see the illustrations below). Unlike a guitar, a violin has no frets, so the player has to learn the exact places to press.

The violin is an excellent ensemble instrument, and it blends especially well with other violins. An orchestra violin section, made up of ten or more instruments playing together, can produce a strong yet sensitive and flexible tone. Hence the orchestra has traditionally relied on strings as a solid foundation for its composite sound.

Like most instruments, violins come in families, that is, in several sizes with different pitch ranges. Two other members of the violin family are basic to the orchestra. The viola is the tenor-range instrument, larger than a violin by several inches. It has a throaty quality in its lowest range, yet it fits especially smoothly into accompa- niment textures. The viola’s highest register is powerful and intense.

03_KER_6985_ch02_010-021v5.0.1.indd 13 21/11/14 5:18 PM

14 U n i t i | Fundamentals

The cello, short for violoncello, is the bass of the violin family. Cellists play seated, with the instrument propped on the floor between their knees. Unlike the viola, the cello has a rich, gorgeous sound in its low register. It is a favorite solo instrument as well as an indispensable member of the orchestra.

Double Bass Also called string bass or just bass, this deep instrument is used to back up the violin family in the orchestra. (However, in various details of construction the bass differs from members of the violin family; the bass actually belongs to another, older stringed instrument family, the viol family.)

Played with a bow, the double bass provides a splendid deep support for orchestral sound. It is often (in jazz, nearly always) plucked to give an especially vibrant kind of accent and to emphasize the meter.

Harp Harps are plucked stringed instruments with one string for each pitch available. The modern orchestral harp is a large instrument with forty-seven strings covering a wide range of pitches. In most orchestral music, the swishing, watery quality of the harp is treated as a striking occasional effect rather than as a regular timbre.

Woodwind instruments As the name suggests, woodwind instruments were once made of wood. Some still are, while others today are made of metal and even plastic. Sound in these instruments is created by setting up vibrations in the column of air in a tube. A series of precisely spaced holes are bored in the tube, which players open or close with their fingers or with a lever device (a key). In effect this creates columns of different lengths, producing different pitches.

Of the main woodwind instruments, flutes, clarinets, and oboes have approximately the same range. All three are used in the orchestra because each has a quite distinct tone color, and composers can obtain a variety of effects from them. It is not hard to learn to recognize and appreciate the different sounds of these woodwinds.

The Flute and Its Family The flute is simply a long cylinder, held horizontally; the player sets the air vibrating by blowing across a side hole. The flute is the most agile

Chinese American cellist Yo-Yo Ma is perhaps this country’s preeminent instrumentalist, and certainly the most versatile and most honored and admired. He has assumed the role of a national resource, playing at state occasions such as President Obama’s 2009 inauguration. in 1998 he founded the silk Road Project, a program of intercultural musical exchange along the silk Road, the ancient trading route between China and the Mediterranean. His complete recordings to date fill over a hundred CDs! Jim Wright/Star Ledger/CORBIS.

Double bass. © Jack Vartoogian/FrontRowPhotos.

03_KER_6985_ch02_010-021v5.0.1.indd 14 21/11/14 5:18 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 15

of the woodwind instruments and also the gentlest. It nonetheless stands out clearly in the orchestra when played in its high register.

The piccolo, the smallest, highest member of the flute family, adds special sparkle to band and orchestral music. The alto flute and bass flute — larger and deeper flutes — are less frequently employed.

The recorder, a different variety of flute, is blown not at the side of the tube but through a special mouthpiece at the end. Used in older orchestral music, the recorder was superseded by the horizontal, or transverse, flute because the latter was stronger and more agile. In the late twentieth century recorders made a comeback for modern performances of old music using reconstructed period instruments. The instrument is also popular (in various family sizes) among musical amateurs today. The recorder is easy to learn and fun to play.

Clarinet The clarinet is a slightly conical tube made, usually, of ebony (a dark wood). The air column is not made to vibrate directly by blowing into the tube, as with the flute. The player gets sound by blowing on a reed — a small piece of cane fixed at one end — in much the same way as one can blow on a blade of grass held taut between the fingers. The vibrating reed vibrates the air within the clarinet tube itself.

Compared to the flute, the clarinet sounds richer and more flexible, more like the human voice. The clarinet is capable of warm, mellow tones and strident, shrill ones; it has an especially intriguing quality in its low register.

The small E-flat clarinet and the large bass clarinet are family members with a place in the modern orchestra. The tube of the bass clarinet is so long that it has to be bent back, like a thin black saxophone.

Oboe The oboe also uses a reed, like the clarinet, but it is a double reed — two reeds lashed together so that the air must be forced between them. (You can see the effort involved in the picture below.) This kind of reed gives the oboe its clearly focused, crisply clean, and sometimes plaintive sound.

The English horn is a larger, lower oboe, descending into the viola range. It is often called by the French equivalent, cor anglais; in either language, the name is all

Oboe (left) and bassoon. Rahav Segev/ZUMA Press/Corbis.

Flute, recorder, and clarinet. John Henley/ Corbis.

03_KER_6985_ch02_010-021v5.0.1.indd 15 21/11/14 5:18 PM

U n i t i | Fundamentals16

wrong, since the instrument is not a horn but an oboe, and it has nothing to do with England.

Bassoon The bassoon is a low (cello-range) instrument with a double reed and other characteristics similar to the oboe’s. It looks somewhat bizarre: The long tube is bent double, and the reed has to be linked to the instrument by a long, narrow pipe made of metal. Of all the double-reed woodwinds, the bassoon is the most varied in expression, ranging from the mournful to the comical.

The contrabassoon, also called the double bassoon, is a very large member of the bassoon family, in the double bass range.

Saxophone The saxophone, invented by the Belgian instrument maker Adolphe Sax, was first used around 1840 in military bands. The instrument is sometimes included in the modern orchestra, but it really came into its own in jazz. Saxophones are close to clarinets in the way they produce sound. Both use single reeds. Since the saxophone tube is wider and made of brass, its tone is even mellower than that of the clarinet, yet at the same time more forceful. The long saxophone tube has a characteristic bent shape and a flaring bell, as its opening is called.

Most common are the alto saxophone and the tenor saxophone. But the big family also includes bass, baritone, and soprano members.

Brass instruments The brass instruments are the loudest of all the wind in- struments because of the rather remarkable way their sound is produced. The player’s lips vibrate against a small cup-shaped mouthpiece of metal. The lip vibration itself vibrates the air within the brass tube. All brass instruments have long tubes, and these are almost always coiled in one way or another. This is easy to do with the soft metal they are made from.

Trumpet The trumpet, highest of the main brass instru- ments, has a bright, strong, piercing tone that provides the ultimate excitement in band and orchestral music alike. Pitch is controlled by three pistons, or valves, that connect auxiliary tubes with the main tube or disconnect them, so as to lengthen or shorten the vibrating air column.

French Horn The French horn has a lower, mellower, thicker tone than the trumpet. It is capable of mysterious, romantic sounds when played softly; played loudly, it can sound like a trombone. Chords played by several French horns in harmony have an especially rich, sumptuous tone.

Trombone The tenor trombone and the bass trombone are also pitched lower than the trumpet. The pitch is controlled by a sliding mechanism (thus the term slide trombone) rather than a valve or piston, as in the trumpet and French horn.

Less bright and martial in tone than the trumpet, the trombone can produce a surprising variety of sounds, ranging from an almost vocal quality in its high register to a hard, powerful blare in the low register.

Tuba The bass tuba is typically used as a foundation for the trombone group in an orchestra. It is less flexible than other brass instruments. And like most other deep bass instruments, it is not favored for solo work.

Other Brass Instruments All the brass instruments described so far are staples of both the orchestra and the band. Many other brass instruments (and even whole families of instruments) have been invented for use in marching bands and have then sometimes found their way into the orchestra.

Two French horns, trumpet, trombone, and tuba. Jonathan Blair/CORBIS.

03_KER_6985_ch02_010-021v5.0.1.indd 16 21/11/14 5:18 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 17

Among these are the cornet and the flügelhorn, both of which resemble the trumpet; the euphonium, baritone horn, and saxhorn, which are somewhere between the French horn and the tuba; and the sousaphone, a handsome bass tuba named after the great American bandmaster and march composer John Philip Sousa.

Finally there is the bugle. This simple trumpetlike instrument is very limited in the pitches it can play because it has no piston or valve mechanism. Buglers play “Taps” and military fanfares, and not much else.

Percussion instruments Instruments in this category produce sound by being struck (or sometimes rattled, as with the South Ameri- can maraca). Some percussion instruments, such as drums and gongs, have no fixed pitch, just a striking tone color. Others, such as the vibraphone, have whole sets of wooden or metal elements tuned to regular scales.

Timpani The timpani (or kettledrums) are large hemispherical drums that can be tuned precisely to certain low pitches. Used in groups of two or more, timpani have the effect of “cementing” loud sounds when the whole orchestra plays, so they are the most widely used percussion instruments in the orchestra.

Timpani are tuned by tightening the drumhead by means of screws set around the rim. During a concert, one can often see the timpani player, when there are rests in the music, leaning over the drums, tapping them quietly to hear whether the tuning is just right.

Pitched Percussion Instruments Pitched percussion instruments are scale instruments, capable of playing melodies and consisting of whole sets of metal or wooden bars or plates struck with sticks or hammers. While they add unforgettable special sound effects to many compositions, they are not usually heard consis- tently throughout a piece, as the timpani are.

These instruments differ in their materials: The glockenspiel has small steel bars. It is a high

instrument with a bright, penetrating sound. The xylophone has hardwood plates or slats. It plays

as high as the glockenspiel but also lower, and it has a drier, sharper tone.

The marimba, an instrument of African and South American origins, is a xylophone with tubular resonators under each wooden slat, making the tone much mellower.

The vibraphone has metal plates, like a glockenspiel with a large range, and is furnished with a controllable electric resonating device. This gives the “vibes” an echoing, funky quality unlike that of any other instrument.

Also like the glockenspiel, the celesta has steel bars, but its sound is more delicate and silvery. This instrument,

unlike the others in this section, is not played directly by a percussionist wielding hammers or sticks. The hammers are activated from a keyboard; a celesta looks like a miniature piano.

Tubular bells, or chimes, are hanging tubes that are struck with a big mallet. They sound like church bells.

Unpitched Percussion Instruments In the category of percussion instruments without a fixed pitch, the following are the most frequently found in the orchestra.

Cymbals are concave metal plates, from a few inches to several feet in diameter. In orchestral music, pairs of large cymbals are clapped together to support climactic moments in the music with a grand crashing sound.

The triangle — a simple metal triangle — gives out a bright tinkle when struck.

The tam-tam is a large unpitched gong with a low, mysterious quality.

The snare drum, tenor drum, and bass drum are among the unpitched drums used in the orchestra.

Timpani (kettledrums), with a vibraphone behind them. David Redfern/Getty Images.

03_KER_6985_ch02_010-021v5.0.1.indd 17 21/11/14 5:18 PM

U n i t i | Fundamentals18

the Orchestra The orchestra has changed over the centuries, just as orchestral music has. Bach’s orchestra in the early 1700s was about a fifth the size of the orchestra required today. (See pages 108, 157, and 227 for the makeup of the orchestra in various historical periods.)

So today’s symphony orchestra has to be a fluid group. Eighty musicians or more will be on the regular roster, but some of them sit out some of the pieces on many programs. And freelancers have to be engaged for special compositions in which composers have imagina- tively expanded the orchestra for their own expressive purposes. A typical large orchestra today includes the following sections, also called choirs.

Strings: about thirty to thirty-six violins, twelve violas, ten to twelve cellos, and eight double basses.

Woodwinds: two flutes and a piccolo, two clarinets and a bass clarinet, two oboes and an English horn, two bassoons and a contrabassoon.

Brass: at least two trumpets, four French horns, two trombones, and one tuba.

Percussion: one to four players, who between them manage the timpani and all the other percussion instru- ments, moving from one to the other. Unlike the violins, for example, the percussion instruments seldom have to be played continuously throughout a piece.

There are several seating plans for orchestras; which is chosen depends on at least two factors. The conductor judges which arrangement makes the best sound in the particular hall. And some conductors feel they can control the orchestra better with one arrangement, some with another. One such seating plan is shown on page 19.

Keyboard instruments Though most orchestras today include a pianist, the piano is a relatively new addition to the symphony orchestra. In earlier times, the orchestra regularly included another keyboard instrument, the harpsichord.

The great advantage of keyboard instruments, of course, is that they can play more than one note at a time. A pianist, for example, can play a whole piece without requiring any other musicians at all. Consequently the solo music that has been written for piano, harpsichord, and organ is much more extensive and important than (accompanied) solo music for other instruments.

The Orchestra in Action

L i s t e n i n g e x e r C i s e 4

snare drums and cymbals. WaringAbbott/Getty Images.

Unit I |10–15

Take a break from reading now and listen to The Young Person’s Guide to the Orchestra, a work devised by Benjamin Britten in 1946 to introduce the many tone colors of orchestral instruments. A full chart of this work is given on page 41. For now, the chart below will lead you one by one through the various sections and instruments of the orchestra.

0:00

0:42

1:11

1:42

2:07

2:26

2:50

3:29

4:32

5:14

6:11

6:56

7:45

8:43

9:40

10:31

11:11

11:47

12:48

14:43

Full orchestra

WOODWIND choir

brass choir

sTrINg choir

PErCUssION

Full orchestra

Flutes and piccolo

Oboes

Clarinets

bassoon

Violins

Violas

Cellos

Double bass

Harp

French horns

Trumpets

Trombones, tuba

PErCUssION

Full orchestra

10

11

0:39

1:41

2:24

12

0:45

1:34

2:32

3:29

13

0:40

1:16

14

15

03_KER_6985_ch02_010-021v5.0.1.indd 18 21/11/14 5:18 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 19

Timpani

Trumpets

Percussion

Harps French horns

Trombones Tuba

Double basses

Clarinets Bassoons

Second violins

Flutes Oboes

Violas

Cellos

First violins Conductor

O R C H E S T R A L S E A T I N G P L A N

Odile Noel/Lebrecht/The Image Works.

03_KER_6985_ch02_010-021v5.0.1.indd 19 21/11/14 5:18 PM

U n i t i | Fundamentals20

An organ with five(!) keyboards. The player pulls out the white knobs (stops) to change the sets of pipes that sound. Lawrence Migdale/Science Source.

Piano The tuned strings of a piano are struck by felt- covered hammers, activated from a keyboard. Much tech- nological ingenuity has been devoted to the activating mechanism, or action.

The hammer must strike the string and then fall back at once, while a damping device made of felt touches the string to stop the sound instantly. All this must be done so fast that the pianist can play repeated notes as fast as the hand can move. Also, many shades of loudness and softness must lie ready under the player’s fingers. This dynamic flexibility is what gave the piano its name: piano is short for pianoforte, meaning “soft-loud.”

The list of virtuoso pianists who were also major com- posers extends from Mozart through Frédéric Chopin to Sergei Rachmaninov. In the nineteenth century, the piano became the solo instrument. At the same time, nearly every middle-class European and American household had a piano. Piano lessons served and still serve for millions of young people as an introduction to the world of music.

Harpsichord The harpsichord is an ancient keyboard instrument that was revived in the 1900s for the playing of Baroque music, in particular.

Like the piano, the harpsichord has a set of tuned strings activated from a keyboard, but the action is much simpler. There is no damping, and instead of hammers strik- ing the strings, the key lifts up a quill that plucks the string. This means, first, that the tone is brittle and ping-y. Second, it means that the player cannot vary dynamics; when a string is plucked in this way, it always sounds the same.

Harpsichord makers compensated for this limitation in dynamics by adding one or two extra full sets of strings,

controlled by an extra keyboard. One keyboard could be soft, the other loud. A mechanism allowed the keyboards to be coupled together for the loudest sound of all.

In spite of its brittle tone and its lack of flexibility in dynamics, the harpsichord can be a wonderfully expres- sive instrument. Good harpsichord playing requires, first and foremost, great rhythmic subtlety.

Another keyboard instrument of early times, the clavichord, has the simplest action of all. Its tone is much too quiet for concert use.

Organ Called “the king of instruments,” the pipe organ is certainly the largest of them (see page 147). This instrument has to provide enough sound to fill the large spaces of churches and cathedrals on a suitably grand scale. The organ has a great many sets of tuned pipes through which a complex wind system blows air, again activated from a keyboard. The pipes have different tone colors, and most organs have more than one keyboard to control different sets of pipes. A pedal board — a big keyboard on the floor, played with the feet — controls the lowest-sounding pipes.

Each set of tuned pipes is called a stop; a moderate- sized organ has forty to fifty stops, but much bigger organs exist. One organ in Atlantic City, New Jersey, has 1,477 stops, for a total of 33,112 pipes. A large organ is capable of an almost orchestral variety of sound.

The organ is not a member of the orchestra, but because the grandest occasions call for orchestra, chorus, vocal soloists, and organ combined (e.g., Handel’s Messiah at Christmastime; see page 142), a major symphony hall has to have its organ — usually an imposing sight.

03_KER_6985_ch02_010-021v5.0.1.indd 20 21/11/14 5:19 PM

C H A P t E R 2 | Pitch, Dynamics, and Tone Color 21

Electronic Keyboard Instruments Today keyboard or organ generally means an electronic instrument. Synthesizers simulate the sound of organs, pianos, and harpsichords — and many other sounds as well.

Modern concert music, from the 1960s on, has occa- sionally used electronic keyboards. On the whole, however, synthesizers have been used more to compose concert music than to play it. And of course electronic keyboards play major roles in today’s popular music.

Plucked Stringed instruments Plucked stringed instruments figure much less in art music of the West than in Asian countries such as India and Japan, as we shall see. One exception is the orchestral harp; see page 14. The acoustic guitar and the mandolin are used very widely in Western popular music, but only occasionally in orchestras.

However, a now-obsolete plucked instrument, the lute, was of major importance in earlier times. One of the most beautiful-looking of instruments, the lute sounds rather like a gentle guitar. Large members of the lute family were the theorbo and the archlute (see page 117).

Like keyboard instruments, plucked stringed instru- ments have been revolutionized by electronic technology. Electric guitars dominate rock music, though they have only occasionally found their way into concert music.

G o a l s f o r r e v i e w

c to distinguish pitch from rhythm and meter

c to listen for different dynamic levels

c to differentiate the timbres or tone colors of some of the main instruments of classical music

macmillanhighered.com/listen8e Instruments of the Orchestra Music for Listening Exercises 3 and 4 Listening Quiz for Chapter 2 Reading Quiz for Chapter 2

Artists loved to paint the lute — a beautiful instrument and a triumph of woodworking craft. Here Francesco Trevisani includes also a violin, a recorder, and a harpsichord. Francesco Trevisani (1656–1746), Personification of Music: A Young Woman Playing a Lute. Private Collection/Photo © Christie’s Images/ The Bridgeman Art Library.

03_KER_6985_ch02_010-021v5.0.1.indd 21 21/11/14 5:19 PM

http://www.macmillanhighered.com/listen8e
In Chapter 2 we learned that music generally does not use the total continuous range of musical sounds. Instead, it draws on only a limited number of fixed pitches. These pitches can be assembled in a collection called a scale. In effect, a scale is the pool of pitches available for making music.

1 | Scales There are many different scales used in the musical cultures of the world. From them, musicians everywhere build an infinite array of melodies and other musi- cal structures. If you sing to yourself the melody of one of your favorite songs, you will have employed the pitches of a scale. But how do scales — in particular the scales basic to Western art music — work?

The Octave Any two pitches will have a certain distance, or difference in highness and lowness, between them. Musicians call this distance an interval. Of the many different intervals used in music, one called the octave has a special character that makes it particularly important.

If successive pitches are sounded one after another — say, running from low to high up the white keys on a piano — there comes a point at which a pitch seems in some sense to “duplicate” an earlier pitch, but at a higher level. This new pitch does not sound identical to the old one, but somehow the two sounds are very similar. They blend extremely well; they almost seem to melt into each other. This is the octave.

What causes the phenomenon of octaves? Recall from Chapter 2 that when strings vibrate to produce sound, they vibrate not only along their full length but also in halves and other fractions, creating overtones (page 12). A vibrating string that is exactly half as long as another will reinforce the longer string’s strongest overtone. This reinforcement causes the duplication effect of oc- taves, and pitches that are an octave apart have frequencies related in a 2:1 ratio.

As strings go, so go vocal cords: When men and women sing along together, they automatically sing in octaves, duplicating each other’s singing an octave or two apart. If you ask them, they will say they are singing “the same song” — not many will think of adding “at different octave levels.”

As a result of the phenomenon of octaves, the full continuous range of pitches that we can hear seems to fall into a series of “duplicating” segments. We divide these octave segments into smaller intervals, thereby creating scales.

Scales and Melody

CHAPTER

3

22 U n i T i | Fundamentals

04_KER_6985_ch03_022-027v5.0.2.indd 22 21/11/14 5:27 PM

C H A P T E R 3 | Scales and Melody 23

The Diatonic Scale The scale originally used in Western music is a set of seven pitches within the octave, called the diatonic scale. Dating from ancient Greek times, the diatonic scale is still in use today. When the first of the seven pitches is repeated at a higher duplicating pitch, the total is eight — hence the name octave, meaning “eight span.”

Anyone who knows the series do re mi fa sol la ti do is at home with the diatonic scale. You can count out the octave for yourself starting with the first do as one and ending with the second do as eight. The set of white keys on a keyboard plays this scale. Shown in the following diagram is a keyboard and diatonic scale notes running through two octaves. The scale notes (pitches) are marked with their conventional letter names. Because there are seven pitches, only the letters up to G are used before returning to A.

B CD E F G A B C D E F G AC

Octave Another octave

The Chromatic Scale The diatonic scale was the original, basic scale of Western music. At a later period, five more pitches were added between certain of the seven pitches of the diatonic scale, making a total of twelve. This is the chromatic scale, represented by the complete set of white and black keys on a keyboard.

The chromatic scale did not make the diatonic scale obsolete. For centuries Western composers used the chromatic scale freely while favoring the diatonic scale embedded in it. Keyboards reflect this practice, with chromatic notes set back and thinner, and colored differently than diatonic ones.

These five extra pitches caused a problem for musical notation. The pitches of the diatonic scale are indicated on the lines and spaces of the staff (see the diagram on page 24); there are no positions in between, so no place for the new five pitches. To solve this problem, symbols such as those shown in the margin were introduced. B − stands for B flat, the pitch inserted between A and B; C ² stands for C sharp, the pitch between C and D, and so on.

π π− π B

(B−) B flat A

π π² C

) C sharp D

(C ² π

Choral singing, the route by which millions of people have come to know and love music. Jeff Greenberg/ Photo Edit.

04_KER_6985_ch03_022-027v5.0.2.indd 23 21/11/14 5:27 PM

U n i T i | Fundamentals24

Half Steps and Whole Steps You learned before that the difference, or distance, between any two pitches is called the interval between them. There are many different intervals between the notes of the chromatic scale, depending on which two notes you choose, including the octave that encompasses them all.

For our purposes, only two other interval types need be considered:

• The smallest interval is the half step, or semitone, which is the distance between any two successive notes of the chromatic scale. On a keyboard, a half step is the interval between the closest adjacent notes, white or black. The dis- tance from E to F is a half step; so is the distance from C to C sharp (C ²), D to E flat (E −), and so on.

As the smallest interval in regular use, the half step is also the smallest that most people can “hear” easily and identify. Many tunes, such as “The Battle Hymn of the Republic,” end with two half steps, one half step going down and then the same one going up again (“His truth is march-ing on”).

• The whole step, or whole tone, is equivalent to two half steps: C to D, D to E, E to F ², and so on. “Three Blind Mice” starts with two whole steps, going down.

The chromatic scale consists exclusively of half steps. The diatonic scale, instead, includes both half steps and whole steps. As you can see in the keyboard picture on page 25, between B and C and between E and F of the diatonic scale, the interval is a half step — there is no black key separating the white keys. Between the other pairs of adjacent notes, however, the interval is twice as big — a whole step.

In this way the diatonic and chromatic scales differ in the intervals between their adjacent pitches. In the diagram on page 25, the two scales are shown in music notation in order to highlight the differences in the intervals they contain. The mixing of half steps and whole steps is a defining feature of the diatonic scale.

2 | Melody A melody is an organized series of pitches. Melodies can be built from any scale. Think for a moment of pitch and time as the two coordinates of a musical graph (see the diagram shown in the margin). A series of single pitches played in a certain rhythm will appear as dots, high or low, on the pitch/time grid. If we connect them by a line, we get a picture of the melody’s overall shape or contour. And in fact, musicians commonly speak of “melodic line,” or simply line, in this connection.

C D E F

Mice

Three Blind

D² (E −)

C ² (D−)

F² (G−)

D E F G A B CC

D² (E−)

C² (D−)

F² (G−)

G² (A−)

A² (B−)

Ł Ł² Ł Ł² Ł Ł Ł² Ł Ł² Ł Ł² Ł Ł

C C ² D D ² E F F ² G G ² A A ² B C

Octave

Melody (melodic line)

P IT

C H

T I M E

04_KER_6985_ch03_022-027v5.0.2.indd 24 21/11/14 5:27 PM

C H A P T E R 3 | Scales and Melody 25

Melodies come in an unlimited array of shapes, and they convey a huge variety of emotional characters. A melody involving a leap from low notes to high can seem to soar; a low note can feel like a setback; a long series of repeated notes on the same pitch can seem to wait ominously. The listener develops a real interest in how the line of a satisfactory melody is going to come out.

Of all music’s structures, melody is the one that moves people the most, that seems to evoke human sentiment most directly. Familiar melodies register simple qualities of feeling instantly and strongly. These qualities vary widely: strong and assertive — like a bugle call — in “The Battle Hymn of the Republic,” mournful in “Summertime” or “Yesterday,” serene in “Amazing Grace,” extroverted and cheerful in “Happy Birthday.”

Tunes A simple, easily singable, catchy melody such as a folk song, a Christmas carol, or many popular songs is a tune. A tune is a special kind of melody. Melody is a term that includes tunes, but also much else.

“The Star-Spangled Banner,” which everyone knows, illustrates the general characteristics of tunes. See the box on page 26.

Motives and Themes Tunes are relatively short; longer pieces, such as symphonies, may have tunes embedded in them, but they also contain other musical material. Two terms are frequently encountered in connection with melody in longer pieces of music: motive and theme.

A motive is a distinctive fragment of melody, distinctive enough so that it will be easily recognized when it returns again and again within a long composition. Motives are shorter than tunes, shorter even than phrases of tunes; they can be as short as two notes. Probably the most famous motive in all music is the four-note DA-DA-DA-DAAA motive in Beethoven’s Fifth Symphony. It is heard literally hundreds of times in the symphony, sometimes up front and sometimes as a restless element in the background.

“Always remember that in listening to a piece of music you must hang on to the melodic line. It may disappear momentarily. . . . But reappear it surely will.”

Composer Aaron Copland, 1939 (see page 349)

BŁ

Ł Ł²

Ł

Ł Ł²

Ł

Ł

Ł

Ł Ł²

Ł

Ł Ł²

Ł

Ł Ł²

Ł

Ł

Ł

ŁCHROMATIC SCALE (one octave)

DIATONIC SCALE (one octave) C

Half step

Whole step

Half step

D

Half step

Whole step

Half step

E

Half step

Half step

Half step

F

Half step

Whole step

Half step

G

Half step

Whole step

Half step

A

Half step

Whole step

Half step

Half step

C

D E F G A B CC

D² (E−)

C² (D−)

F² (G−)

G² (A−)

A² (B−)

−−− .0 ¹ Ł Ł Ł ð q

DA DA DA DAAA

04_KER_6985_ch03_022-027v5.0.2.indd 25 21/11/14 5:28 PM

U n i T i | Fundamentals26

CharaCteriStiCS oF tuneS The best way to grasp the characteristics of tunes is by singing one you know, either out loud or in your head.

Division into Phrases Tunes fall naturally into smaller sections, called phrases. This is, in fact, true of all melo- dies, but with tunes the division into phrases is particularly clear and sharp.

In tunes with words (that is, songs), phrases tend to coincide with poetic lines. Most lines in a song lyric end with a rhyming word and a punctuation mark such as a comma. These features clarify the musical phrase divisions:

And the rockets’ red glare, The bombs bursting in air

Singing a song requires breathing — and the natural tendency is to breathe at the end of phrases. You may not need to breathe after phrase 1 of our national anthem, but you’d better not wait any longer than phrase 2:

−− /0 Ł ý Ł Ł Ł Ł ð Ł ý Ł Ł Ł Ł¦ ð

Phrase 1 Phrase 2

Oh say can you see By the dawn’s ear-ly light

Composers also take care to make some phrases contrast with their neighbors — one phrase short, another long, or one phrase low, another high (perhaps even too high, at “O’er the land of the free”). A tune with some parallel and some contrasting phrases will seem to have a satisfying coherence and yet will avoid monotony.

Climax and Cadence A good tune has form: a clear, pur- poseful beginning, a feeling of action in the middle, and a firm sense of winding down at the end.

Many tunes have a distinct high point, or climax, which their earlier portions seem to be heading toward. Feelings rise as voices soar; a melodic high point is always an emotional high point. The climax of our national anthem emphasizes what was felt to be the really crucial word in it — “free.” Patriot Francis Scott Key put that word in that place. (Key wrote the words of “The Star-Spangled Banner” — the words only, adapted to an older melody.)

Then the later part of the tune relaxes from this climax, until it reaches a solid stopping place at the end. Emotionally, this is a point of relaxation and satisfaction. In a less definite way, the music also stops at earlier points in the tune — or, if it does not fully stop, at least seems to pause. The term for these interim stopping or pausing places is cadence.

Composers can write cadences with all possible shades of solidity and finality. “And the home of the brave” is a very final-sounding cadence; “That our flag was still there” has an interim feeling. The art of making cadences is one of the most subtle and basic processes in musical composition.

Balance between Phrases In many tunes, all the phrases are two, four, or eight bars long. Blues tunes, for example, usually consist of three four-measure phrases, hence the term twelve-bar blues.

Most phrases of “The Star-Spangled Banner” are two measures long (see phrase 1 and phrase 2 above). But one phrase broadens out to four measures, with a fine effect: “Oh say, does that star-spangled banner yet wave.” You don’t want to breathe in the middle of this long phrase.

Other phrase lengths — three measures, five, and so on — can certainly occur in a tune and make for welcome contrast. For a good tune, the main requirement is that we sense a balance between the phrases, in terms of phrase lengths and in other terms, too, so that taken together the phrases add up to a well-proportioned whole.

Parallelism and Contrast Balance between phrases can be strengthened by means of parallelism. For example, phrases can have the same notes but different words (“Oh, say can you see,” “Whose broad stripes and bright stars”). Others have the same rhythm but different pitches (“Oh, say can you see,” “By the dawn’s early light”).

Sometimes phrases have the same general melodic shape, but one phrase is slightly higher or lower than the other (“And the rockets’ red glare,” “The bombs bursting in air”). Such duplication of a phrase at two or more dif- ferent pitch levels, called sequence, occurs frequently in music, and is a hallmark of certain musical styles.

1 2 3 4

early sheet music for “the Star-Spangled Banner,” “a famous Song for the union.” Corbis.

04_KER_6985_ch03_022-027v5.0.2.indd 26 21/11/14 5:28 PM

C H A P T E R 3 | Scales and Melody 27

G o a l s f o r r e v i e w

c to understand the importance of octave, half step, and whole step in making scales

c to distinguish diatonic and chromatic scales

c to build a vocabulary for melody or tune: phrase, cadence, motive, theme

macmillanhighered.com/listen8e Music for Listening Exercise 5 Listening Quiz for Chapter 3 Reading Quiz for Chapter 3

The second term, theme, is the most general term for the basic subject mat- ter of longer pieces of music. Theme is another name for “topic”: The themes or topics of an essay you might write are the main points you announce, repeat, develop, and hammer home. A composer treats musical themes in much the same way. The theme of Beethoven’s Fifth Symphony consists of the brief DA-DA-DA-DAAA motive repeated over and over at different pitches — that is, played in sequence (see the key term on page 26). The famous theme of the last movement of Beethoven’s Ninth Symphony is a full tune, which we will hear several times in the music recordings (see page 30).

Melody and tune

Division into phrases, parallelism and contrast between phrases, sequence, climax, and cadence: These are some characteristics of tunes that we have observed in “The Star-Spangled Banner.” They are not just inert characteristics — they are what make the tune work, and they are present in tunes of all kinds. Our example is a song by George and Ira Gershwin from the Depression era, which was also the jazz era: “Who Cares?” from the musical comedy Of Thee I Sing (1931).

In “The Star-Spangled Banner” the climax matches the text perfectly at “free.” Here “jubilee” makes a good match for the climax, and a melodic sequence fits the words “I care for you / you care for me” neatly. “Who cares?” comes at 0:57 on our recording by the great jazz singer Ella Fitzgerald, after an introduction (called the verse) typical of such songs — a sort of subsidiary tune, with words that will not be repeated.