Take Note

Description

Take Note: An Introduction to Music Through Active Listening is an innovative music appreciation text, designed to help students become active and attentive listeners through an in-depth examination of a recurring repertory of core musical works. By exploring each element of music through the lens of these core works--which were carefully selected to represent a variety of styles and genres--students deepen their understanding of how music works and develop strong listening skills that will enhance their enjoyment of music. Combining this listening-centered approach with an overview of Western music history, interactive activities, and in-text features that invite students to discover additional works outside of the classroom, Take Note prepares students for a lifetime of music appreciation.

Distinctive features
* Listening-centered approach: develops students' understanding of the basic elements of music
* Recurring core repertory: explores the elements of music through a select group of musical works that reflect a variety of styles (piano, winds, brass, and percussion) and genres (jazz, lieder, world, and choral music)
* Historical context: gives students an overview of Western music from the Medieval period to the present through a 3-chapter historical survey, timelines, and "Focus On," "In History," and "Across the Arts" boxes
* "If You Liked This Music" boxes: encourages students to expand their playlists and listening skills beyond the core repertory by offering additional listening suggestions throughout the text
* Dashboard for Take Note: offers Spotify playlists for key selections in the text plus auto-graded quizzes and other study materials. Save money by purchasing a new book bundled with a Dashboard access code or purchase Dashboard separately at http://register.dashboard.oup.com.

Table of Contents

Guide to the Core Repertory of Musical Works
Letter from the Author
Preface
Acknowledgments
1. Learning to Listen Actively
Active Listening
The Listening Situation
-- Tune out distractions
-- Give your undivided attention
-- Concentrate on the beginning
-- Listen more than once
-- Move from emotional to active listening
A Core Repertory of Works
Key Elements of Music
-- Form
-- Timbre
-- Rhythm and Meter
-- Melody
-- Harmony
-- Texture
Music in Context
-- Music and Text
-- Music and Drama
Listening Practice
-- An Emotional Response to Music
-- Learning to Listen Guide: Dvorák: Slavonic Dance in E minor, Op. 72, no. 10
-- Focus on Antonín Dvorák (1841-1904)
-- In History: Dvorák's Slavonic Dance in E minor, Op. 72, no. 10
-- From Emotional to Active Listening
-- Learning to Listen Guide: Palestrina: Sicut cervus
-- Focus on Giovanni Pierluigi da Palestrina (ca. 1525-1594)
-- Music and the Roman Catholic Church
-- If You Liked This Music
Exploring Longer Works
-- Mozart, Symphony no. 40 in G Minor: Listen for Form
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
-- Focus on Wolfgang Amadeus Mozart (1756-1791)
-- Bach, Concerto in D Minor: Listen for Timbre
-- Learning to Listen Guide: Bach: Concerto in D minor for harpsichord and strings, BWV 1052
-- Focus on Original Instruments
-- Crumb, Black Angels: Listen for Harmony and Texture
-- Learning to Listen Guide: Crumb: Black Angels
-- Focus on George Crumb (b. 1929)
PART 1. LISTENING THROUGH HISTORY
2. Medieval, Renaissance, and Baroque Music
The Periods of Music History
-- Stylistic Periods of Western Classical Music
-- Establishing the Periods of Classical Music
Medieval Music
Renaissance Music
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Kyrie
-- Learning to Listen Guide: Palestrina: Sicut cervus
-- Focus on Giovanni Pierluigi da Palestrina (ca. 1525-1594)
Baroque Music
-- The Baroque Audience
-- Instruments of the Baroque Repertory
-- Musical Elements of the Baroque Repertory
-- The Baroque Style
-- Monteverdi's Io son pur vezzosetta
-- Focus on Claudio Monteverdi (1567-1643)
-- Learning to Listen Guide: Monteverdi: Io son pur vezzosetta, from Madrigals, Book 7
-- Across the Arts: Sonnet XXX by William Shakespeare
-- Bach's Mass in B minor
-- Learning to Listen Guide: Bach: Mass in B Minor, Gloria
-- Focus on Johann Sebastian Bach (1685-1750)
-- In History: Bach's Mass in B Minor
-- If You Liked This Music
3. Classical and Romantic Music
Classical Music
-- The Classical Audience
-- Instruments of the Classical Repertory
-- Musical Elements of the Classical Repertory
-- Mozart's Serenade No. 10, Gran partita
-- Learning to Listen Guide: Mozart: Gran partita, K. 361
-- Mozart's The Marriage of Figaro
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, "Dove sono"
-- Haydn's String Quartet in B-flat Major
-- Focus on Joseph Haydn (1732-1809)
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3
-- Beethoven's Symphony no. 5
-- The Symphony as Musical Story-Telling
-- Focus on Ludwig van Beethoven (1770-1827)
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67
Romantic Music
-- The Romantic Audience
-- Across the Arts: William Blake's Union of Poetry and Painting
-- Instruments of the Romantic Repertory
-- Musical Elements of the Romantic Repertory
-- Chopin's Ballade in G minor
-- Learning to Listen Guide: Chopin, Ballade No. 1 in G minor, Op. 23
-- Focus on Frédéric Chopin (1810-1849) />-- Berlioz's Roméo et Juliette
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Ohé, Capulets! and Scène d'amour
-- Focus on Hector Berlioz (1803-1869)
-- Smetana's árka
-- Learning to Listen Guide: Smetana: Sárka, from Má Vlast (My Homeland)
-- Focus on Bedrich Smetana (1824-1884)
-- In History: Smetana's Sárka
-- If You Liked This Music
4. The Twentieth Century and Beyond: Modernism and Jazz
Modern Music
-- The Modern Audience
-- Instruments of the Modern Classical Repertory
-- Musical Elements of the Modern Repertory
-- Stravinski's Symphony of Psalms
-- Learning to Listen Guide: Stravinsky, Symphony of Psalms
-- Focus on Igor Stravinsky (1882-1971)
-- Across the Arts: Of Cathedrals and Sky Scrapers-Architecture That Joins Earth and Sky
-- Debussy's Sonata for flute, viola, and harp
-- Learning to Listen Guide: Debussy: Sonata for flute, viola, and harp
-- Focus on Claude Debussy (1862-1918)
Contemporary Music
Listening to Jazz-Sophisticated Music with Popular Roots
-- Focus on William "Count" Basie (1904-1984)
-- The Story Behind Lester Leaps In
-- Focus on the Original 1939 Recording
-- First Impressions of Lester Leaps In
-- Listening for the Beat
-- Listening for the Melodies and Chords
-- Listening for the Form
--Listening Closely to Lester Leaps In
-- The Sections of Lester Leaps In
-- How the Pattern Works: Repetition and Contrast
-- Across the Arts: A Jazz Pattern in the Poetry of E.E. Cummings
-- The First Chorus
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 1st chorus
-- The Pattern Continues
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 2nd - 3rd choruses
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 4th chorus
-- The Saxophone Solo
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 5th-11th choruses
-- The Vibraphone Solo
-- Learning to Listen: William "Count" Basie: Lester Leaps In, 12th-18th choruses
-- The Remaining Choruses
Taking It All In
-- If You Liked This Music
-- In History: Basie's Lester Leaps In
PART 2. LISTENING THROUGH MUSICAL ELEMENTS
5. Form and Structure
Building Blocks of Musical Form />Repetition-Based Forms
-- Strophic Form
-- Focus on Franz Schubert (1797-1828)
-- Learning to Listen Guide: Schubert: Winterreise, Die Post
-- If You Liked This Music
-- Modified Strophic Form
-- Learning to Listen Guide: Schubert: Winterreise, Der Lindenbaum
-- Variation Form
-- Focus on Following the Score
-- Focus on the Clarinet
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VI: Tema con variazioni
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VI: Tema con variazioni
-- In History: Mozart's Gran Partita
Contrast and Return-Based Forms
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, V: Romanze, Adagio-Allegretto-Adagio
-- Rondo Form
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, VII: Rondeau: Allegro
-- Sonata Form
-- Across the Arts: How Music Tells a Story
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
-- Learning to Listen Guide: Ives: Violin Sonata no. 4 ("Children's Day at the Camp Meeting")
Multi-Movement Forms
-- The Symphonic Model
-- If You Liked This Music
-- The Suite Model
Other Approaches to Form
-- Steady Growth-Arch Form
-- Forms for Music with Text
-- Learning to Listen Guide: Machaut: Foy porter, virelai
-- Focus on Troubadours
6. Timbre--the Character of a Sound
-- Across the Arts: The Painter's Art
Timbre and Design of Musical Instruments
Sounds of the Voice
-- Voices and Vocal Ranges
-- Vocal Timbre in Opera
-- Learning to Listen Guide: Verdi: Otello, Act 1, Love duet
-- Learning to Listen Guide: Bach: Mass in B Minor, Gloria, Domine Deus, rex coelestis
-- Focus on Countertenors
-- Many Voices, One Timbre: The Choir
-- Voice and Orchestra: Berlioz's Roméo et Juliette
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Récitatif choral
Timbres of the Orchestra
-- The String Section
-- Learning to Listen Guide: Berlioz, Roméo et Juliette, Scène d'amour
--, -- The String Section
-- Learning to Listen Guide: Mozart: Gran Partita, K. 361, II: Minuet with two trios
-- The Brass Section
-- Learning to Listen Guide: Gould: An American Salute, beginning
-- Timbres of Percussion Instruments
-- Learning to Listen Guide: Dallapiccola: Canti di Prigionia
-- Percussion Timbres in Non-Western Mucsc
-- Learning to Listen Guide: Gender Wayang, Sukawati (Sulendro)
-- Chamber Ensembles
-- Learning to Listen Guide: Haydn: String Quartet in B-flat major, Op. 64, no. 3, 2nd movement
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio
Timbre in Performance
-- Timbre as Structural Division: Stravinsky's Symphony of Psalms
-- Learning to Listen Guide: Stravinsky: Symphony of Psalms
-- Timbre as Sonic Experiment: Crumb's Black Angels
-- In History: Crumb's Black Angels
7. Rhythm and Meter
Components of Rhythm
-- Beat
-- Meter
-- Accent
-- Tempo
Exploring Meter
-- Duple Meter: Sousa and Count Basie
-- Across the Arts: Shakespeare's Rhythm
-- Triple Meter: Dvo?ák's Slavonic Dance
-- Focus on Antonín Dvo?ák (1841-1904)
-- Listening Closely for Meter
-- How Dvo?ák Shifts the Rhythm
-- Across the Arts: How Meter Shifts in Poetry
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
Syncopation: Where's the Beat?
-- Swing: Lester Leaps In
-- Learning to Listen Guide: William "Count" Basie: Lester Leaps In
-- Syncopation in Classical Music: Bach's Harpsichord Chorus
-- Learning to Listen Guide: Bach: Concerto in D minor for harpsichord and strings, BWV 1052
-- Focus on Joseph Haydn (1732-1809)
-- Haydn the Beat
-- Learning to Listen Guide: Haydn: String Quartet in B-flat Major, op. 64, no. 3
-- In History: Haydn's String Quartet, op. 64, no. 3
Compound Meters
-- Compound Meters in the Middle Ages: Machaut
-- Across the Arts: The Medieval Worldview
-- Learning to Listen Guide: Machaut: Lasse! comment oublieray/Se j'aim mon loyal/Pour quoy me bat mes maris?
-- If You Liked This Music
-- Compound meter in Romantic Music: A Chopin Ballade
-- Learning to Listen Guide: Chopin: Ballade no. 1 in G minor, op. 23
Disguising the Meter: Debussy and Impressionism
-- Across the Arts: Blurring the Lines
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, III: Final-Allegro moderato ma risoluto
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, II: Interlude, Tempo di Minuetto
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp, I: Pastorale-Lento, dolce rubato
The Twentieth Century: Rhythmic Freedom
-- Irregular Meters: Ives's Sonata no. 4
-- Focus on Charles Ives (1874-1954)
-- Irregular compound Meters: Vandervelde's Genesis II
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio, beginning
Polymeters: Global Music
-- Learning to Listen Guide: Jumping Dance Drums
-- If You Liked This Music
8. Melody
Chapter Concepts
Melodic Lines in a Non-Western Melody
-- Learning to Listen Guide: Raga Bhankar
-- In History: Raga Bhankar
-- If You Liked This Music
Melody in Western Music
-- Musical Intervals
-- Rhythm and Melody
-- Phrase Structure
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
-- Across the Arts: Dvo?ák, Dance, and Poetry
Roots of Modern Melody
-- Balanced Phrase Structure: The Dies Irae
-- Learning to Listen Guide: Thomas of Celano: Dies Irae
-- The First Two Stanzas
-- Stanzas Three and Four
-- Melodic Phrase Structure: From Celano to Chopin and Debussy
-- Internal Repetition: A Chopin Nocturne
-- Learning to Listen Guide: Chopin: Nocturne in A-flat major, Op. 32, no. 2, beginning
-- Melodic Disguise: Debussy
-- Learning to Listen Guide: Debussy: Sonata for Flute, Viola, and Harp
Musical Motives
-- The Opening Notes as Motive: Beethoven's Fifth Symphony
-- Motive Cohesiveness: The Second Theme of Beethoven's Fifth Symphony
-- Melody and Thematic Development: The Development Section of Beethoven's Fifth Symphony
-- Binding it all Together: The Recapitulation of Beethoven's Fifth Symphony
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, op. 67
Motive and Melody
-- If You Liked This Music
-- Thematic Development in Mozart
-- Learning to Listen Guide: Mozart: Gran partita, K. 361
9. Harmony and Texture
The Middle Ages: Texture
-- Monophonic Texture
-- Focus on Chant
-- Polyphonic Texture
The Renaissance: Counterpoint Comes to the Fore
-- A Masterpiece of Polyphonic Texture: Josquin's Missa L'homme Armé
-- The Kyrie />-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Kyrie
-- The Agnus Dei
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Agnus Dei
Focus on Josquin des Prez (ca. 1450-1521)
The Baroque: Counterpoint Yields to Harmony
-- Homophonic Texture
-- Functional Harmony
-- Focus on Johann Sebastian Bach (1685-1750)
-- Fugal Texture
-- Learning to Listen Guide: Bach: Mass in B minor
The Classical Period: Functional Harmony Reigns
-- Major and Minor: The Exposition of Mozart's Symphony no. 40
-- Polyphony in the Development Section
-- The Recapitulation: The Original Texture Returns
-- Learning to Listen Guide: Mozart: Symphony no. 40 in G minor, K. 550
The Romantic Period: Harmony Begins to Change
-- Harmonic Enrichment: Chopin's Nocturne in A-flat Major
-- Learning to Listen Guide: Chopin: Nocturne in A-flat Major, op. 32, no. 2
-- Harmonic Revolution: Wagner's Tristan und Isolde
-- Focus on Richard Wagner (1813-1883)
-- Learning to Listen Guide: Wagner: Tristan und Isolde, Prelude, beginning
-- If You Liked This Music
The Modern Period: Dissonance is Set Free
-- Harmony as an Adjective: Debussy's Sonata for Flute, Viola, and Harp
-- Across the Arts: Color and Suggestion
-- If You Liked This Music
-- Stravinsky's Symphony of Psalms: Echoing Bach
-- Learning to Listen Guide: Stravinsky: Symphony of Psalms
-- In History: Stravinsky's Symphony of Psalms
The Later 20th Century and Beyond: Anything Can Happen
-- Focus on Janika Vandervelde (b. 1955)
--Crumb's Black Angels: Absence
-- Learning to Listen Guide: Crumb: Black Angels, II: Absence
-- Crumb's Black Angels: Return
-- Learning to Listen Guide: Crumb: Black Angels, III: Return
Harmony, Texture, and Meaning
PART 3. BRINGING IT ALL TOGETHER
10. Music and Text
Fitting Music and Text Together
-- If You Liked This Music
-- Focus on the Piano
-- Schubert, Winterreise, Der Lindenbaum
-- Learning to Listen Guide: Schubert, Winterreise, Der Lindenbaum
-- Text as Drama: Winterreise, Die Post
-- Learning to Listen Guide: Schubert, Winterreise, Die Post
-- In History: Schubert's Winterreise
-- Polytextuality
-- Learning to Listen Guide: Machaut: Lasse! comment oublieray/Se j'aim mon loyal/Pour quoy me bat mes maris?
How Music and Text Communicate
-- Semantic Content: The Sense
-- Phonetic Content: The Sound
-- Syntax: The Structure
-- Learning to Listen Guide: Schumann: Dichterliebe, Ich grolle nicht
-- Can These Qualities Conflict?
Interpreting Persona
-- The Composer's Persona: Schubert's Der Leiermann
-- Learning to Listen Guide: Schubert: Winterreise, Der Leiermann
-- The Character's Persona: Schumann's Die Alten, Bösen Lieder
-- Learning to Listen Guide: Schumann: Dichterliebe, Die alten, bösen Lieder
-- The Listener's Persona: Dallapiccola's Canti di Prigionia
-- Learning to Listen Guide: Dallapiccola: Canti di prigionia, 1st movement: Preghiera di Maria Stuarda
-- Across the Arts: Painter's Against Fascism
-- Learning to Listen Guide: Dallapiccola: Canti di prigionia, 2nd movement: Invocazione di Boezio,
-- Focus on Luigi Dallapiccola (1904-1975)
-- The Performer's Persona: Bob Dylan and His "Covers"
-- If You Liked This Music
11. Music and Drama
How Music Contributes to Drama
-- Across the Arts: What's Up With Cartoon Music?
-- Cinematic Opera
-- A Literary Link
Music Drama
-- Focus on Giuseppe Verdi (1813-1901)
-- Learning to Listen Guide: Verdi, Otello, beginning of Act I
-- In History: Verdi's Otello
Number Opera
-- Focus on Wolfgang Amadeus Mozart (1756-1791)
-- Recitative: A Useful Convention
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, recitative from Act I
-- Arias: The Music that Provides the Magic
-- Meet Cherubino
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, Non so più cosa son, cosa faccio
Integrating Music Drama and Number Opera
-- If You Liked This Music
The Role of the Libretto
-- Stories of the Operas
-- Why the Libretto is Important
The Libretto and the Music Drama: Transforming Othello
-- What Shakespeare Tells Us about Iago
-- What Boito Tells Us about Iago
-- What Verdi Tells Us about Iago
-- Learning to Listen Guide: Verdi, Otello, Iago's monologue from Act II
-- The Credo Monologue
-- The Trio from Act III
-- Learning to Listen Guide: Verdi, Otello, trio from Act III />The Libretto and the Number Opera: Transforming The Marriage of Figaro
-- What Beaumarchais Tells Us about Cherubino
-- What Da Ponte Tells Us about the Countess
-- Learning to Listen Guide: Mozart, Le Nozze di Figaro, K. 492, beginning of Act II
-- What Mozart Tells Us about the Countess
-- The Opening Duet
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, opening duet
-- The Sextet in Act III
-- Learning to Listen Guide: Mozart: Le Nozze di Figaro, K. 492, sextet from Act III
-- If You Liked This Music
Some Final Thoughts
12. Instrumental Music and Meaning
Program Music: Telling a Story
-- Learning to Listen Guide: Smetana: árka, from Má Vlast (My Homeland)
-- Focus on the Orchestra
Types of Musical Meaning
-- Symbolic Meaning
-- Learning to Listen Guide: Josquin: Missa L'homme armé super voces musicales, Agnus Dei III
-- Meaning Through Musical Gesture
-- Personal and Accrued Meaning
-- Across the Arts: Movies and Famous Music
Musical Form and Meaning
-- Ternary Form: Mozart and Dvo?ák
-- Learning to Listen Guide: Chopin: Nocturne in A-flat major, Op. 32, no. 2
-- Learning to Listen Guide: Dvo?ák: Slavonic Dance in E minor, Op. 72, no. 10
-- Theme and Variations Forms: A Character's Many Moods
-- Sonata Form: The Musical Essay
Beethoven's Symphony no. 5
-- In History: Beethoven's Symphony no. 5
-- Beethoven's Fifth: A Guided Tour
-- The First Movement
-- Exposition
-- Development
-- Recapitulation
-- Coda
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, I: Allegro con brio
-- The Second Movement
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, II: Andante con moto
-- The Third Movement
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, III: Allegro
-- The Fourth Movement: Finale
-- Learning to Listen Guide: Beethoven: Symphony no. 5 in C minor, Op. 67, IV: Allegro
-- Legacy
Narrative Contour and Gender
-- Learning to Listen Guide: Vandervelde: Genesis II for piano trio
-- If You Liked This Music
Bonus Online Chapter 13. Actively Listening to Additional Works
Perotinus, Sederunt principes
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Perotinus and the Middle Ages
-- Sederunt principes In Today's World
-- If You Liked This Music: Contemporary Performers of Music from the Middle Ages
-- Questions for Further Study
Handel, Messiah
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Handel and the Baroque
-- Sacred and Secular Meanings
-- Messiah in Today's World
-- If You Liked This Music: Other Works of Handel
-- Questions for Further Study
Brahms, Violin Concerto in D Major, Op. 77
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Brahms and the Romantic Period
-- Classical and Popular Styles
-- If You Liked This Music: Other Late Romantic Works
-- Questions for Further Study
Aaron Copland, Four Dance Episodes from Rodeo
-- The Setting
-- The Genre
-- How the Music was Written
-- Performance Tradition
-- Copland and the 20th Century
-- Changing Meanings
-- If You Liked This Music: More by Aaron Copland
-- Questions for Further Study
Glossary
Credits
Index