Anthology for Music in Western Civilization, Volume I / Edition 1

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The Rodin/Wright/Simms anthologies are intended for the music history course, which is taught over a period of two to four semesters and is required of all undergraduate music majors. The course typically covers all major movements and composers within a context of European political, social, and cultural history. Anthologies may be assigned for use with a textbook or independently.

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Editorial Reviews

From the Publisher
"While many of our incoming graduate students tend to be adept at identifying styles and composers in listening exams, they tend to freeze up when a score is put in front of them. . . . The anthology goes a long way toward helping to address this general shortcoming in the training of undergraduate music majors."
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Product Details

  • ISBN-13: 9780495572749
  • Publisher: Cengage Learning
  • Publication date: 3/17/2009
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 736
  • Sales rank: 1,302,489
  • Product dimensions: 8.40 (w) x 10.80 (h) x 1.10 (d)

Meet the Author

Timothy J. Roden (Bachelor of Music, Houghton College, 1980; Ph.D., Northwestern University, 1992) teaches music history, world music, survey of music literature, and music appreciation at Ohio Wesleyan University. He received grants from Northwestern University and the Deutscher Akademischer Austauschdienst that allowed him to complete research in Berlin, Germany, on German orchestral lieder. He has contributed an article on Schumann's lieder to the NATS Journal, is preparing an edition of orchestral lieder for a scholarly press, and has prepared ancillaries to accompany Wright's LISTENING TO MUSIC (Thomson-Schirmer).

Craig M. Wright received his Bachelor of Music degree at the Eastman School of Music in 1966 and his Ph.D. in musicology from Harvard University in 1972. He began his teaching career at the University of Kentucky and for the past 40 years has been teaching at Yale University, where he is the Henry L. and Lucy G. Moses Professor of Music as well as Director of Online Education. He teaches his perennially popular introductory course "Listening to Music", also part of the offerings of Open Yale Courses, and his selective seminar "Exploring the Nature of Genius". The author of numerous scholarly books and articles on composers ranging from Leoninus to Bach, Dr. Wright has also received many awards, including a Guggenheim Fellowship, the Einstein and Kinkeldey Awards of the American Musicological Society, and the Dent Medal of the International Musicological Society. In 2004 he was awarded the honorary degree Doctor of Humane Letters from the University of Chicago, and in 2010 he was elected as a member of the American Academy of Arts and Sciences, joining fellow inductee banjo player Steve Martin. Dr. Wright has also published LISTENING TO MUSIC, CHINESE EDITION (Cengage Learning/Three Union Press, 2012), translated and simplified by Profs. Li Xiujung (China Conservatory, Beijing) and Yu Zhigang (Central Conservatory, Beijing), both of whom worked with Wright at Yale; LISTENING TO MUSIC and LISTENING TO WESTERN MUSIC, Seventh Editions (Cengage Learning, 2015); and MUSIC IN WESTERN CIVILIZATION, MEDIA UPDATE (Cengage Learning, 2010) with coauthor Bryan Simms. He is presently at work on a volume titled MOZART'S BRAIN: EXPLORING THE NATURE OF GENIUS.

Bryan R. Simms (Bachelor of Arts, Yale University, 1966; Ph.D., Yale University, 1971) has taught since 1976 at the University of Southern California, where he has been director of graduate studies and is currently chair of the department of musicology. He is the recipient of fellowships from the National Endowment for the Humanities and the Fulbright Foundation. He is the author of books and articles on topics in twentieth-century music and music theory, including MUSIC OF THE TWENTIETH CENTURY (Schirmer 1996) and, most recently, THE ATONAL MUSIC OF ARNOLD SCHOENBERG, 1908-1923 (Oxford University Press).

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Table of Contents

Part I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. 2. Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World. 3. Chant in the Monastery and Convent. 4. Music Theory in the Monastery: John of St. Gall and Guido of Arezzo. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. 6. Troubadours and Trouvères. 7. Early Polyphony. 8. Music in Medieval Paris: Polyphony at Notre Dame. 9. Inside the Cathedral Close and University: Conductus and Motet. 10. In the Parisian Masters Study: Music Theory of the Ars Antiqua and Ars Nova. 11. Music at the Court of the French Kings: The Ars Nova. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. 13. Avignon, Symbolic Scores, and the Ars Subtilior. Musical Interlude 1: From Medieval Manuscript to Modern Performance. Part II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1425. 15. Music at the Cathedral of Florence. 16. Music in England. 17. Music at the Court of Burgundy. 18. Music at the French Royal Court. 19. Music in the Low Countries. Part III: THE LATE RENAISSANCE. Musical Interlude 2: Music in the Late Renaissance. 20. Popular Music in Florence, 1470-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. 21. Josquin Desprez and Music in Ferrara. Musical Interlude 3: Music Printing During the Renaissance. 22. Music in Renaissance Paris. 23. Renaissance Instruments and Instrumental Music. Musical Interlude 4: Music Theory in the Renaissance. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. 25. Rome and the Music of the Counter-Reformation. 26. Music in Elizabethan England, Part I: Early Vocal Music. 27. Music in Elizabethan England, Part II: Later Vocal Music and Instrumental Music. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. Part IV: BAROQUE MUSIC. 29. Early Baroque Music. 30. The Birth of Opera: Florence, Mantua, and Venice. 31. The Concerted Style in Venice and Dresden. 32. Religious Music in Baroque Rome. Musical Interlude 5: A Baroque Christmas in the Andes of South America. 33. Instrumental Music in Italy. 34. Instrumental Music in Germany and Austria. 35. Music in Paris and at the Court of Versailles: Vocal Music. 36. Music in Paris and at the Court of Versailles: Instrumental Music. Musical Interlude 6: From Ancient to Modern: Aspects of Baroque Music Theory. 37. Music in London, Part I: Henry Purcell. 38. Music in London, Part II: George Frideric Handel. 39. Johann Sebastian Bach: Instrumental Music in Weimar and Cöthen. 40. Johann Sebastian Bach: Vocal Music in Leipzig.

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