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Overview

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Learn the History of Music, through Music.

A History of Music in Western Culture, 4/e is based on the premise that the best way to convey the history of Western music is to focus on specific works of music. The text is structured around a carefully selected repertory of music that reflects the development of the art form throughout time. Mark Evan Bonds helps readers gain a broad understanding of the nature of music, its role in society, and the ways in which these have changed over time. A History of Music in Western Culture challenges students to think critically about the nature of music and its past.

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. Students will have a sound basis from which to explore other musical works. This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

Learning Goals

Upon completing this book, students will be able to:

  • Grasp the evolution of musical style and music's changing uses within the Western tradition.
  • Have a sound basis from which to explore other musical works.
  • Gain a better understanding of the nature of music
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Editorial Reviews

From the Publisher

“Well written, a good balance between purely musical topics and relevant extra-musical topics.”

- Jim Davis, SUNY Fredonia

“the chapters unfold and flow with a good pace and great clarity. The illustrations and the tables and windows animate and diversify the text greatly. The tone is definitely appropriate in its professionality, authority, and competence.”

- Sara Waltz, University of the Pacific

“A comprehensive history which addresses music within the social and cultural climate from which it comes.”

- Eric Wood, University of the Pacific

“Great on features, readability and coverage. I (and my students) enjoy all the features. They really make the book come alive.”

- Karl Hinterbichler, University of New Mexico

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Product Details

  • ISBN-13: 9780205952144
  • Publisher: Pearson
  • Publication date: 1/24/2013
  • Edition number: 4
  • Pages: 696
  • Product dimensions: 6.00 (w) x 9.02 (h) x 0.02 (d)

Meet the Author

Mark Evan Bonds is the Cory C. Boshamer Distinguished Professor of Music at the University of North Carolina at Chapel Hill, where he has taught since 1992. He holds degrees from Duke University (BA), Christian-Albrechts-Universität Kiel (MA), and Harvard University (PhD). His publications include Wordless Rhetoric: Musical Form and the Metaphor of the Oration (1991), After Beethoven: Imperatives of Symphonic Originality (1996), and Music asThought: Listeningto the Symphony in the Age of Beethoven (2006). He has also published essays on the music of Haydn and Mozart and has served as editor-in-chief of Beethoven Forum.

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Table of Contents

In this Section:
1) Brief Table of Contents

2) Full Table of Contents


BRIEF TABLE OF CONTENTS:

Part One: The Medieval Era

Chapter 1. Plainchant and Secular Monophony

Chapter 2. Polyphony to 1300

Chapter 3. Music in the 14th Century

Part Two: The Renaissance

Chapter 4. The Emergence of Renaissance Style

Chapter 5. The Genres of Renaissance Music, 1420–1520

Chapter 6. Music in the 16th Century

Part Three: The Baroque Era

Chapter 7. The New Practice

Chapter 8. Vocal Music, 1600–1650

Chapter 9. Vocal Music, 1650–1750

Chapter 10. Instrumental Music, 1600–1750

Part Four: The Classical Era

Chapter 11. The Art of the Natural

Chapter 12. Instrumental Music in the Classical Era

Chapter 13. Vocal Music in the Classical Era Major Composers of the Classical Era

Part Five: The 19th Century

Chapter 14. The Age of the Tone Poet

Chapter 15. Orchestral Music, 1800–1850

Chapter 16. Piano Music, Chamber Music, Song

Chapter 17. Dramatic and Choral Music

Chapter 18. Orchestral Music, 1850–1900

Part Six: The 20th Century

Chapter 19. The Growth of Pluralism

Chapter 20. The Search for New Sounds, 1890–1945

Chapter 21. Beyond Tonality

Chapter 22. The Tonal Tradition

Chapter 23. New Currents after 1945

Chapter 24. Popular Music

FULL TABLE OF CONTENTS:

Part One: The Medieval Era

Chapter 1. Plainchant and Secular Monophony

The Emergence of Plainchant

The Elements of Plainchant

The Expansion of Plainchant

Secular Monophony

Chapter 2. Polyphony to 1300

Organum

Mensural Notation

Chapter 3. Music in the 14th Century

France: The Arts Nova

Italy: The Trecento

Part Two: The Renaissance

Chapter 4. The Emergence of Renaissance Style

Consonance and Dissonance: Trusting the Eat

Sonority: The Contenance Angloise

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

Chapter 5. The Genres of Renaissance Music, 1420–1520

Sacred Vocal Music

Secular Vocal Music

Instrumental Music

Chapter 6. Music in the 16th Century

Sacred Vocal Music

Secular Vocal Music

Instrumental Music

Part Three: The Baroque Era

Chapter 7. The New Practice

Searching for the Secretes 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

Opera

Sacred Music

Chapter 9. Vocal Music, 1650–1750

Opera

Sacred Music

Conceptions Of The Compositional Process

Chapter 10. Instrumental Music, 1600–1750

Instruments of The Baroque Era

Instrumental Genres of The Baroque Era

Part Four: The Classical Era

Chapter 11. The Art of the Natural

Music and The Idea of Nature

Music in The Classical Era: A Stylistic Overview

Style and Form in The Mid-18th Century

Chapter 12. Instrumental Music in the Classical Era

The Language of Instrumental Music

Form and Genre in Instrumental Music

Chapter 13. Vocal Music in the Classical Era Major Composers of the Classical Era

The Rise of Opera Buffa

Opera Wars

Gluck and The Reform of Opera

Mozart and The Synthesis of Operatic Styles

Sacred Music

Song

Part Five: 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

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

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

Operetta

Choral Music

Chapter 18. Orchestral Music, 1850–1900

Music For Dancing And Marching

The Ballet

The Symphonic Poem

The Symphony

Major Composers of the 19th Century

Part Six: The 20th Century

Chapter 19. The Growth of Pluralism

From Homogeneity to Diversity

The Past Confronts The Present

Recorded Versus Live Music

Authenticity

Music in 20th-Century Society

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

Neoclassicism and The “New Objectivity”

Orchestral Music

Film Music

Ballet

Chamber Music

Opera and Musical Theater

Chapter 23. New Currents after 1945

New Sounds from Old Instruments

Combinatoriality

Integral Serialism

Aleatory Music

Electronic Music

Minimalism

Postmodernism

Chapter 24. Popular Music

Hymnody and its Legacy

Ragtime and Blues

Popular Song

Jazz: To 1945

Jazz: After 1945

Country Music

The Folk Revival

Rhythm & Blues, Rock, and Rap

Major Composers of the 20th Century

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