MD DALIM #876541 11/01/06 CYAN MAG YELO BLACK t h e a r t o f l i s t e n i n g seventh edition Music JEAN FERRIS FERRIS Music t h e a r t o f l i s t e n i n g seventh edition fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page i Music the art of listening _ _ fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page ii _ _ fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page iii Music the art of listening Seventh Edition JEAN FERRIS Arizona State University, Tempe Boston Burr Ridge, IL Dubuque, IA Madison, WI New York San Francisco St. Louis Bangkok Bogotá Caracas Kuala Lumpur Lisbon London Madrid Mexico City Milan Montreal New Delhi Santiago Seoul Singapore Sydney Taipei Toronto _ _ fer22130_fm_i-xxxviii.qxd 11/21/06 12:50 PM Page iv MUSIC: THE ART OF LISTENING Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY, 10020. Copyright © 2008, 2003, 1999, 1995, 1991, 1988, 1985 by The McGraw-Hill Companies, Inc. All rights reserved.
No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOW/DOW 0 9 8 7 6 ISBN: 978-0-07-312213-7 MHID: 0-07-312213-0 Vice President and Editor-in-Chief: Emily Barrosse Publisher: Christopher Freitag Marketing Manager: Pamela Cooper Director of Development: Lisa Pinto Editorial Assistant: Marley Magaziner Managing Editor: Jean Dal Porto Lead Project Manager: Susan Trentacosti Manuscript Editor: Gretlyn Cline Art Director: Jeanne Schreiber Senior Designer: Violeta Diaz Text and Cover Designer: Susan Breitbard Photo Research Coordinator: Sonia M.
Brown Senior Production Supervisor: Carol A. Bielski Lead Media Project Manager: Marc Mattson Lead Media Producer: Jocelyn Spielberger Composition: 10/12 Palatino, Thompson Type Printing: 45# Pub Matte Plus, R. Donnelley & Sons Cover: Eyewire (Photodisc)/PunchStock Credits: The credits section for this book begins on page 411 and is considered an extension of the copyright page. Library of Congress Control Number: 2006937409 The Internet addresses listed in the text were accurate at the time of publication.
The inclusion of a Web site does not indicate an endorsement by the authors or McGraw-Hill, and McGraw-Hill does not guarantee the accuracy of the information presented at these sites.com _ fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page v To Dud, in celebration of our fiftieth. _ _ fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page vi _ _ fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page vii Contents The Student’s Preface xxviii Attending Performances xxix Orchestral Performances xxix Other Performances xxx Form in Music xxxi The Printed Program xxxi How to W rite about Music xxxi Different Kinds of Performance xxxii Subjective Reactions xxxiii Preface xxxiv Overture xxxvi PART ONE Basic Concepts 2 1 Sound 5 Pitch 5 Naming Pitches 5 Notating Pitches 7 Intervals 7 Dynamics 7 Listening Example 1 Richard Strauss: Introduction to Also sprach Zarathustra (Thus Spake Zarathustra) 9 Summary 9 Critical Thinking 9 Terms to Review 9 Encore 10 2 Rhythm 11 Tempo 12 Meter 12 Conducting Patterns 13 Listening Example 2 Piotr Ilyich Tchaikovsky: Russian Dance (Trepak) from The Nutcracker 14 Summary 15 Critical Thinking 15 _ _ vii fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page viii Terms to Review 15 Encore 16 Connection: Rhythm in the Music of Africa and India 16 3 Melody 17 Melodic Types 19 Scales 19 Major and Minor Scales 19 Tonic Note 20 Chromatic Scale 21 Whole-Tone Scale 21 Pentatonic Scale 21 Summary 21 Listening Example 3 Anonymous: “Amazing Grace” 22 Critical Thinking 22 Terms to Review 22 Encore 23 Connection: Melody in China and in India 24 4 Harmony 25 Chords 25 Tonality 26 Listening Example 4 Traditional: “Shenandoah” (excerpt) 27 Consonance and Dissonance 27 Texture 27 Summary 29 Critical Thinking 29 Terms to Review 30 Encore 30 5 Timbre 31 Vocal Timbres 31 Instruments of the Orchestra 32 String Instruments 32 Woodwinds 33 Brass Instruments 36 Percussion Instruments 37 Listening Example 5 Benjamin Britten: The Young Person’s Guide to the Orchestra 38 Keyboard Instruments 39 _ Harpsichord 40 _ viii fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page ix Piano 41 Pipe Organ 41 Electronic Instruments 41 Electronic Synthesizer 42 MIDI 42 Summary 43 Critical Thinking 44 Terms to Review 44 Encore 45 Connection: Music Timbres around the World 45 PART TWO Ancient Greece, The Middle Ages, The Renaissance 46 6 The Music of Ancient Greece 49 Historical Perspective 49 Music in Greek Life 50 The Greeks’ Lasting Influence 51 Music and Words 52 Stories and Myths 53 The Philosophy of Music 53 Scientific Theories of Music 54 Classicism versus Romanticism in Art 54 An Interrupted Legacy 54 Summary 55 Critical Thinking 55 Terms to Review 56 Connection: Extramusical Perceptions in Several Cultures 56 7 Medieval Music 57 Historical Perspective 57 Artistic Style 58 Early Christian Music 60 Modes 61 Further Characteristics of Medieval Music 61 Gregorian Chant 61 Listening Example 6 Alleluia: “Pascha nostrum” from the Dominica Resurrectionis for Easter Sunday. 62 Hildegard of Bingen (1098–1179) 63 Rise of Polyphony 64 Listening Example 7 Hildegard of Bingen: “Nunc aperuit nobis” 65 _ _ ix fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page x Secular Music 66 The English Sound 66 Instrumental Music 66 The New Method 66 Listening Example 8 Anonymous: “Sumer is icumen in” 67 Historical Perspective 67 Artistic Style 68 Music 69 The Mass 69 Guillaume de Machaut (ca. 1300–1377) 69 Listening Example 9 Guillaume de Machaut: “Gloria” from the Missa Notre Dame 70 Summary 70 Critical Thinking 71 Terms to Review 71 Key Figures 72 Encore 72 Connection: Islamic Chant 73 8 The Renaissance: General Characteristics 75 Historical Perspective 75 The Reformation 76 The Counter-Reformation 76 Artistic Style 77 Painting 77 Architecture 80 Sculpture 80 Music 80 Timbre 81 Texture 81 Renaissance Modes 81 Summary 82 Critical Thinking 82 Terms to Review 82 Key Figures 82 9 Sacred Music of the Renaissance 83 Renaissance Motet 83 Josquin Desprez (c.
1445–1521) 84 Renaissance Mass 84 Giovanni Pierluigi da Palestrina (c. 1524–1594) 85 _ Listening Example 10 Giovanni Palestrina: Agnus Dei I from Missa _ Papae Marcelli (Mass for Pope Marcellus) 86 x fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xi Protestant Worship Music 86 Chorale 87 Listening Example 11 Martin Luther: “Ein’ feste Burg” (“A Mighty Fortress Is Our God”) 88 Psalm Tunes 89 Listening Example 12 Louis Bourgeois: “Old Hundred” 90 Summary 90 Critical Thinking 91 Terms to Review 91 Key Figures 91 Encore 92 10 Secular Music in the Renaissance 93 Madrigal 93 Listening Example 13 Thomas Weelkes: “As Vesta Was from Latmos Hill Descending” 94 Instrumental Music 95 String Instruments 95 Listening Example 14 John Dowland: “Queen Elizabeth’s Galliard” 97 Keyboard Instruments 97 Wind Instruments 98 Ensembles 98 Women Instrumentalists 98 Summary 99 Critical Thinking 99 Terms to Review 100 Key Figures 100 Encore 101 PART THREE The Baroque (1600–1750) 102 11 Toward the Baroque 105 Artistic Style 105 Music 105 Venetian Polychoral Music 106 Giovanni Gabrieli (1557–1612) 109 Listening Example 15 Giovanni Gabrieli: Sonata pian’ e forte 110 Monody 111 _ Summary 111 _ xi fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xii Critical Thinking 112 Terms to Review 112 Key Figures 112 Encore 112 12 The Baroque: General Characteristics 113 Historical Perspective 113 Religion 113 Science and Philosophy 114 Artistic Style 114 Literature 114 Painting 115 Sculpture 117 Music 117 Contrasts 118 Texture 118 Rise of Tonality 119 Summary 119 Critical Thinking 120 Terms to Review 120 Key Figures 120 13 Dramatic Music of the Baroque 121 Claudio Monteverdi (1567–1643) 121 First and Second Practice 121 Early Opera 123 Recitative 123 Listening Example 16 Claudio Monteverdi: “Tu se’ morta” from L’Orfeo 124 Aria 125 Henry Purcell (c. 1659–1695) 126 Late Baroque Opera 127 Bel Canto 127 Listening Example 17 Henry Purcell: “Thy hand, Belinda, darkness shades me” (recitative) and “When I am laid in earth” (aria) from Dido and Aeneas 128 Ballad Opera 129 George Frideric Handel (1685–1759) 129 Oratorio 130 Listening Example 18 George Frideric Handel: “Hallelujah” Chorus from Messiah 131 Messiah 131 _ Johann Sebastian Bach (1685–1750) 132 _ xii fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xiii Cantata 133 Summary 133 Listening Example 19 Johann Sebastian Bach: Cantata no. 140, “Wachet auf” (“Sleepers Wake”), first movement 134 Critical Thinking 135 Terms to Review 135 Key Figures 135 Encore 136 14 Baroque Instrumental Music 137 Music for Keyboards 137 Prelude 137 Fugue 139 Listening Example 20 Johann Sebastian Bach: Fugue in G minor (“Little” Fugue) 140 Toccata 140 Suite 141 The Basso Continuo 141 Chamber Music 141 Sonata 142 Orchestral Music 142 Concerto 142 Antonio Vivaldi (1678–1741) 142 Listening Example 21 Antonio Vivaldi: “Spring” Concerto (from The Four Seasons), first movement 143 Concerto Grosso 143 Listening Example 22 Johann Sebastian Bach: Brandenburg Concerto no.
2 in F major 145 Summary 146 Critical Thinking 146 Terms to Review 146 Key Figures 147 Encore 148 PART FOUR The Classical Period (1750–1820) 150 15 Toward Classicism 153 The Rococo 153 Visual Arts 154 _ _ xiii fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xiv Music 156 Listening Example 23 François Couperin: “Le tic-toc-choc” from Ordre 18 157 The German “Sensitive” Style 158 Summary 158 Critical Thinking 159 Terms to Review 159 Key Figures 159 Encore 159 16 The Classical Period: General Characteristics 161 Historical Perspective 161 The Enlightenment 161 Artistic Style 162 Painting 162 Sculpture and Architecture 163 Literature 165 Music 166 General Characteristics 167 Viennese Style 168 Summary 168 Critical Thinking 168 Terms to Review 169 Key Figures 169 17 Formal Design in the Classical Period 171 The Orchestra 171 Franz Joseph Haydn (1732–1809) 172 Wolfgang Amadeus Mozart (1756–1791) 173 Symphony 174 Sonata-Allegro 175 Listening Example 24 Wolfgang Amadeus Mozart: Symphony no. 550, first movement 176 Solo Concerto 177 Listening Example 25 Wolfgang Amadeus Mozart: Concerto for Flute and Orchestra in D major, K. 314, third movement 178 Rondo 178 Chamber Music 179 _ Theme and Variations 179 _ xiv fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xv Listening Example 26 Franz Joseph Haydn: String Quartet in C major (“Emperor”), op. 3, second movement 180 Minuet and Trio 181 Summary 181 Listening Example 27 Wolfgang Amadeus Mozart: Eine kleine Nachtmusik (A Little Night Music), third movement 182 Critical Thinking 182 Terms to Review 182 Key Figures 183 Encore 183 18 Vocal Music in the Classical Period 185 Opera 185 Comic Opera 186 Listening Example 28 Giovanni Battista Pergolesi: La serva padrona (The Maid Turned Mistress), excerpt from the final duet 188 Mozart’s Operas 189 Sacred Music 190 Summary 191 Listening Example 29 Wolfgang Amadeus Mozart: “Dies Irae” from the Requiem 192 Critical Thinking 193 Terms to Review 193 Key Figures 193 Encore 194 PART FIVE The Age of Romanticism (1820–1910) 196 19 Toward Romanticism 199 The Arts 199 Literature 200 Painting 200 Music 200 Ludwig van Beethoven (1770–1827) 202 Beethoven’s Approach to Form 203 The Symphonies 204 _ _ xv fer22130_fm_i-xxxviii.qxd 11/9/06 4:49 AM Page xvi Listening Example 30 Ludwig van Beethoven: Piano Sonata no.
13 (Pathétique), first movement 205 Listening Example 31 Ludwig van Beethoven: Symphony no.