Includes bibliographical references and index.

Part 1. Materials of music. Listening to music ; Melody: musical line ; Rhythm and meter: musical time ; Harmony: musical depth ; The organization of musical sounds ; Musical texture ; Musical form ; Musical expression: tempo and dynamics ; Text and music ; Voices and instrument families ; Western musical instruments ; Musical ensembles ; Style and function of music in society ; Many voices: creating and recreating musical canons -- Putting music into words -- Part 2. The Middle Ages and Renaissance. Music as commodity and social activity ; Voice and worship: tradition and individuality in medieval chant ; Layering lines: early polyphony of the Notre Dame School ; Storytelling through song: troubadours and medieval court culture -- Symbols and puzzles: Machaut and the medieval mind ; Singing friendship : the Renaissance madrigal ; Remember me: personalizing the motet in the Renaissance ; Glory be: music for the Renaissance mass ; Instrumental movements: medieval and Renaissance dance music -- Part 3. The Baroque era. Music as exploration and drama ; Voicing gender: women composers in Baroque Italy ; Performing grief: Purcell and early opera ; Musical sermons: Bach and the Lutheran cantata ; Textures of worship: Handel and the English oratorio ; Independent study: Billings and the North American sacred tradition ; Grace and grandeur: the Baroque dance suite ; Sounding spring: Vivaldi and the Baroque concerto ; Process as meaning: Bach and the fugue -- Part 4. Eighteenth-century classicism. Music as order and logic ; Musical conversations: Haydn and classical chamber music ; The ultimate instrument: Haydn and the symphony ; Expanding the conversation: Mozart, chamber music, and larger forms ; Conversation with a leader: the classical concerto ; Personalizing the conversation: Beethoven and the classical sonata ; Disrupting the conversation: Beethoven and the symphony in transition ; Making it real: Mozart and classical opera ; Mourning a hero: Mozart and the Requiem -- Part 5. The nineteenth century. Music as passion and individualism ; Musical reading: Schubert, Schumann, and the early romantic Lied ; Marketing music: Foster and early "popular" song ; Fire and fury at the keyboard: Chopin and romantic piano music -- Musical diaries: Hensel and programmatic piano music ; Personal soundtracks: Berlioz and the program symphony ; Sounding literature: orchestral program music by Mendelssohn and Grieg ; Absolutely classic: Brahms and the nineteenth-century symphony ; Multimedia hits: Verdi and Italian romantic opera ; Total art: Wagner and German romantic opera ; Embracing death: Brahms and the requiem -- Poetry in motion: Tchaikovsky and the ballet ; Exotic allure: Puccini and the Italian Verismo tradition ; Mythical impressions: program music at the end of the nineteenth century ; Nationalism crosses the ocean: Dvorak and late Romanticism in the USA -- Jubilees and jubilation: the African American spiritual tradition ; A good beat: American vernacular music at the close of an era -- Part 6. Twentieth-century modernism. Making music modern ; Anything goes: Schoenberg and musical expressionism ; Calculated shock: Stravinsky and modernist multimedia ; Still sacred: religious music in the twentieth century ; War is hell: Berg and expressionist opera ; American intersections: jazz and blues traditions ; Modern America: still and musical modernism in the United States ; Jazz gets classical: Gershwin's modern experiments ; Sounds American: Ives, Copland, and musical nationalism ; Also American : Revueltas and Mexican musical modernism ; Classic rethinking: Bartâok and the neo-classical turn -- Part 7. Postmodernism: the mid-twentieth century and beyond. Beyond modernism? ; New sound palettes : mid-twentieth-century American experimentalists ; Staged sentiment: Bernstein and American musical theater ; Less is more: Reich and minimalist music ; Rolling Beethoven over: roots and reworkings of rock ; Returning with interest: Bowie, Glass, and postmodern elaboration ; Neo-romantic evocations: Higdon and program music into the twenty-first century ; Underscoring meaning: music for film ; Icons in sound: Tavener and postmodern orthodoxy ; Reality shows : Adams and contemporary opera -- Syncretism and universalism: Leon and the intersection of traditions.

"For more than 60 years, this text has led the way in preparing student for a lifetime of listening to great music and understanding its cultural and historical context. The Fourteenth Edition builds on this foundation with new coverage of performance and musical style. New tools help students share their deepening listening skills and appreciation in writing and conversation"-- Provided by publisher