Description

Features

The narrative of A History of Music in Western Culture is closely integrated with the accompanying Anthology of Scores and the corresponding sets of compact discs.  Every work in the Anthology gets discussed in the text, called out with an icon in the margin cross referenced to both the scores and recordings.

Following a Prologue on the music of classical Antiquity, the text is divided into six parts, each corresponding to a major era in music history

Each part begins with a prelude with one or more maps that summarize the historical and social background of each era, and the first chapter in each part provides an overview of the major stylistic characteristics and theoretical concerns of the music of the era.

The text also offers a variety of features and pedagogical tools:

- An Outline at the beginning of each chapter.

- Comparative timeline that lists major musical events side-by-side with other historical events.

- A graphic summary of style differences

- Key Terms

- Composer Profiles

- Primary evidence boxes

- Focus boxes

- Performance Practice boxes

And for the first time, we are pleased to offer MyMusicKit, an online learning resource for students. MyMusicKit contains the following materials to reinforce the course material:  

·    Chapter summaries and questions

·    Flash cards with pronunciation and sound clips

·    Historical timeline

·    Primary Source Material

·    Documentaries on Historical Periods

·    Downloadable Listening Software to be used with the CD sets

·    Inside the Orchestra video

New To This Edition

- Format: A History of Music in Western Culture is now available in volumes.  For schools that teach the history sequence over two or more semesters, the volumes give added flexibility to students and professors who may wish to purchase only the relevant volume. The two individual volumes correspond in coverage to the two volumes of the Score Anthology:

Volume One: A History of Music in Western Culture, Antiquity through the Baroque Era

Volume Two: A History of Music in Western Culture, The Classical Era to Today

- Technology: A History of Music in Western Culture, 3e may be packaged with MyMusicKit. (www.mymusickit.com) This online web resource includes the following:

·    Chapter summaries and questions

·    Flash cards with pronunciation and sound clips

·    Historical timeline

·    Primary Source Material

·    Documentaries on Historical Periods

·    Downloadable Listening Software to be used with the CD sets

·    Inside the Orchestra video

- Updates: This text has been expanded and updated with more Focus Boxes, additional primary sources, and improved graphics.

-Full Color Images: More than 25 new full color illustrations have been added to this edition and many images previously in black and white are now in color.

- Expanded Repertory: New works in the third edition include Isaac’s “Innsbruck, ich muss dich lassen,” Farmers “Fair Phyllis, and Byrd’s Pavana, “The earl of Salisbury.”

- Updates to the Score Anthology include the following:

·         New selections illustrating 16^th century styles, 19^th century nationalism and 20^th century pluralism have been added to the anthology of scores. There are six new works by women composers, ranging from the Baroque Era to the present.

·         Improved editions. The emphasis on using new editions of selected works has continued, including a conductor’s score for Sousa’s King Cotton March that illuminates the composers scoring to a greater degree than previously possible.

·         New software for cuing the recordings. To follow complex, longer scores, the Anthology offers several “cue points” in these works so students may locate where they are while listening to the accompanying CDs. To locate these cues, a free software package is offered as part of the accompanying website, MyMusicKit.

Table of Contents

Preface

Prologue: Antiquity

Music in the Biblical World

Ancient Greece

Music in Ancient Greek Society

Greek Musical Theory

Music in the Roman Empire

The Musical Legacies of Antiquity

Music and the Cosmos

Music and the Soul

Music and the State

Theory versus Practice

Vocal versus Instrumental Music

Discussion Questions

Part I The Medieval Era

Prelude to Part I  

CHAPTER 1: Plainchant and Secular Monophony

The Emergence of Plainchant

The Elements of Plainchant

Liturgical Function

Relationship of Words and Music

Mode

Melodic Structure

Rhythm

The Expansion of Plainchant

Secular Monophony

Songs in Latin

France

The Iberian Peninsula

Germany

CHAPTER 2: Polyphony to 1300

Orgunum

Innovations in Organum

Notre Dame Organum

Clausula

Motet

Conductus

Mensural Notation

Franconian Notation

Petronian Notation

CHAPTER 3: Music in the 14th Century

France: The Ars Nova

Le Roman de Fauvel

Polyphonic Settings of the Mass Ordinary

Secular Song

The Ars subtilior at the End of the

14th Century

Italy: The Trecento

England

Instrumental Music

Discussion Questions

Part II The Renaissance

Prelude to Part II

Renaissance Humanism

The Protestant Reformation

Renaissance Painting and Sculpture

Music in Renaissance Society

CHAPTER 4: The Emergence of Renaissance Style

Consonance and Dissonance: Trusting the Ear

Sonority: The Contenance Angloise

Fauxbourdon and Faburden

New Sonority, Old Structure: Du Fay’s Nuper rosarum flores

Josquin’s Ave Maria . . . Virgo Serena and The Style of the Renaissance

Treatment of Text

Texture

Cadential Structure

Mode

Melody

Rhythm

Harmony

CHAPTER 5: The Genres of Renaissance Music, 1420—1520

Sacred Vocal Music

The Mass: Du Fay and Ockeghem

The Mass: Josquin des Prez and His

Contemporaries

The Motet

Secular Vocal Music

Chanson

Frottola

Instrumental Music

Renaissance Instruments

Keyboard Music

Dance Music

CHAPTER 6: Music in the 16th Century

Secular Vocal Music

The Parisian Chanson

The Italian Madrigal

Secular Song in Germany, Spain, and England

Sacred Vocal Music

Music of the Reformation

Music of the Counter-Reformation

Instrumental Music

Intabulations

Variations

Freely Composed Works

Dance Music

Mannerism

Discussion Questions

Part III The Baroque Era

Prelude to Part III

War, Revolution, and Colonial Expansion

The Scientific Revolution

The Musical Baroque

CHAPTER 7: The New Practice

Searching for the Secrets of Ancient Greek Music

The Florentine Camerata

The Seconda Prattica

Music in the Baroque Era:

A Stylistic Overview

CHAPTER 8: Vocal Music, 1600—1650

Secular Song

Italy: The Madrigal

France: The Air de cour

Opera

Sacred Music

CHAPTER 9: Vocal Music, 1650—1750

Opera

France: Comédie-ballet and Tragédie en musique

Italy: Opera seria

England: Masque, Semi-Opera, Opera, and Ballad Opera

Sacred Music

Music in Convents

Oratorio

Motet and Mass

Cantata

Conceptions of the Compositional Process

CHAPTER 10: Instrumental Music, 1600—1750

Instruments of the Baroque Era

The Violin

Winds, Brass, and Percussion

Keyboard Instruments

The Orchestra

The Public Concert

Instrumental Genres of the Baroque Era

Sonata

Concerto

Suite

Other Keyboard Genres

Discussion Questions

Part IV The Classical Era

Prelude to Part IV

The Age of Enlightenment

War and Revolution

The Industrial Revolution

Music in Enlightenment Society

CHAPTER 11: The Art of the Natural Music and the Idea of Nature

Music in the Classical Era: A Stylistic Overview

The Elements of Classical Style

The Illusion of Order

Form and Style in the Mid-18^TH Century

The Emergence of Sonata Form

The Fantasia

CHAPTER 12: Instrumental Music in the Classical Era

The Language of Instrumental Music

Form and Genre in the Instrumental Music of the Classical Era

Sonata

String Quartet

Symphony

Concerto

CHAPTER 13: Vocal Music in the Classical Era

The Rise of Opera Buff

Opera Wars

Gluck and the Reform of Opera

Mozart and the Synthesis of Operatic Styles

Sacred Music

Song

Discussion Questions

Major Composers of the Classical Era

France

Great Britain

Italy

The Austrian Empire

Germany

North America

Part V The 19th Century

Prelude to Part V

Progress and Dislocation

Ideas and Ideologies

Reaction, Reform, and Revolution

The Musical World of the 19th Century

CHAPTER 14: The Age of the Tone Poet

Romanticism and the New Prestige of Instrumental Music

The Composer as High Priest

Originality and Historical Self-Consciousness

The New Dichotomy between Absolute and Program Music

Nationalism

The Growing Division between Art and Popular Music

Music in the 19th Century: A Stylistic Overview

CHAPTER 15: Orchestral Music, 1800—1850

Bigger Halls, Bigger Audiences, and Louder Instruments

The Symphony

Beethoven’s Symphonies

The Symphony after Beethoven

The Concert Overture

The Concerto

CHAPTER 16: Piano Music, Chamber Music, Song

Beethoven’s Piano Sonatas and String Quartets

Song

The Character Piece

The Virtuoso Showpiece

CHAPTER 17: Dramatic and Choral Music

Opera

Italy in the Early 19th Century: Rossini

Italy at Mid-century: Verdi

Opera and Politics

France: Grand Opéra and Opéra Comique

Germany: Weber to Wagner

The Elements of Wagnerian

Music Drama

Operetta

Choral Music

CHAPTER 18: Orchestral Music, 1850—1900

Music for Dancing and Marching

The Ballet

The Symphonic Poem

The Symphony

The Challenge of the Past: Brahms

Nationalism: DvoÇrák

The Collision of High and Low: Mahler

Discussion Questions

Major Composers of the 19th Century

France

Great Britain

Italy

Spain

Germany and Austria

Scandinavia

Bohemia

Russia

United States

Part VI The 20th Century

Prelude to Part VI

The Impact of Recorded Sound

Modernism: The Shock of the New

CHAPTER 19: The Growth of Pluralism from Homogeneity to Diversity

The Past Confronts the Present

Recorded Versus Live Music

Authenticity

The Uses of Music in the 20th-Century

Society

Music and the State

Music and Race

Music and Protest

Music Therapy

Ambient Music

Music in the 20th Century: A Stylistic Overview

CHAPTER 20: The Search for New Sounds, 1890—1945

Impressionism

Challenges to Tonality

Radical Primitivism

Nationalism

New Timbres

Chapter 21: Beyond Tonality

Atonality

Serial Composition

CHAPTER 22: The Tonal Tradition

Neoclassicalism and the “New Objectivity”

Orchestral Music

Film Music

Ballet

Chamber Music

Opera and Musical Theatre

The Oratorio

CHAPTER 23: New Currents after 1945

The Quest for Innovation

Combinarotiality

Dissonant Counterpart

Integral Serialism

Aleatory Music

Electronic Music

Minimalism

Postmodernism

Major Composers of the 20th Century

France

Great Britain

Italy

Spain

Greece

Germany and Austria

Scandinavia

Hungary

Czechoslovakia/Czech Republic

Poland

Russia and the Soviet Union

Latin America

United States

CHAPTER 24: The Popular Music of America and Its Influence

Before 1900

Ragtime and Blues

Ragtime

Blues

Popular Song

Jazz: to 1945

Jazz: after 1945

Country Music

The Folk Revival

Rhythm, Rock and Rap

Discussion Questions

Epilogue: Music at the Beginning of a New Century

Appendices

Glossary

Index

Courses

Music History (Two Semesters)  (Music)

Previous Edition(s)

• History of Music in Western Culture Black & White, 2/E
  Bonds
  ©2006  |  Pearson  |  Kit/Package/ShrinkWrap; 720 pp  |  Out of Print
  ISBN-10: 0205695167  |  ISBN-13: 9780205695164
    Brief Description  | 

  

  A History of Music in Western Culture 2/e is based on the premise that the best way to convey the history of Western music is to focus squarely on the music.  Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions.  Once familiar with a representative body of music, students can better grasp the evolution of musical style and music's changing uses within the Western tradition.  Even more importantly, they will have a sound basis from which to explore other musical works and repertories.  This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

   

  Mark Evan Bonds wrote A History of Music in Western Culture to help students to gain a broad understanding of the nature of music, its role in society, and the ways in which these have changed over time.  This text seeks to challenge students to think critically about its subject.  The history of music is too often presented (and learned) as one long series of indisputable facts.  The author integrated into this text enough primary source documents:  excerpts from composers' letters, contemporary reviews, theoretical treatises, and the like to demonstrate the ways in which the raw materials of history can be open to conflicting interpretations. Indeed, the most interesting historical issues tend to be precisely those about which experts disagree.

  More Info
  

• History of Music in Western Culture, A (Book Alone), 2/E
  Bonds
  ©2006  |  Pearson  |  Paper; 720 pp  |  Out of Print
  ISBN-10: 0131931040  |  ISBN-13: 9780131931046
    Brief Description  | 

  

  For courses in Music History. 

   

  A History of Music in Western Culture 2/e is based on the premise that the best way to convey the history of Western music is to focus squarely on the music.  Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions.  Once familiar with a representative body of music, students can better grasp the evolution of musical style and music's changing uses within the Western tradition.  Even more importantly, they will have a sound basis from which to explore other musical works and repertories.  This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

   

  Mark Evan Bonds wrote A History of Music in Western Culture to help students to gain a broad understanding of the nature of music, its role in society, and the ways in which these have changed over time.  This text seeks to challenge students to think critically about its subject.  The history of music is too often presented (and learned) as one long series of indisputable facts.  The author integrated into this text enough primary source documents:  excerpts from composers' letters, contemporary reviews, theoretical treatises, and the like to demonstrate the ways in which the raw materials of history can be open to conflicting interpretations. Indeed, the most interesting historical issues tend to be precisely those about which experts disagree.

   

  More Info
  

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