Test Bank for Listen, Eighth Edition

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Product details:

• ISBN-10 ‏ : ‎ 0393603644
• ISBN-13 ‏ : ‎ 978-0393603644
• Author: Joseph Kerman; Gary Tomlinson

Listen makes music accessible to all with its concise historical and cultural context, compelling composer biographies, and clear Listening Charts. The redesigned Eighth Edition incorporates new perspectives on music since 1900, new repertory, and illuminating discussions to help students synthesize the important concepts of classical music and develop the listening skills to explore it further.

Table of contents:

Preface To the Instructor

 

Introduction To the Student

 

Classical Music—and Other Kinds

 

Classical Music and History

 

Listening

 

*How to Use This Book

 

 

Unit I Fundamentals

 

CHAPTER 1 Rhythm, Meter, and Tempo

 

1 Rhythm

 

Beat and Accent

 

2 Meter

 

Rhythm and Meter

 

Syncopation

 

Listening Exercise 1 Rhythm, Meter, and Syncopation

 

3 Tempo

 

Listening Exercise 2 Rhythm, Meter, and Tempo

 

*Goals for Review

CHAPTER 2 Pitch, Dynamics, and Tone Color

 

1 Pitch

 

2 Dynamics

 

Listening Exercise 3 Pitch and Dynamics

 

3 Tone Color

 

[Box] Musical Instruments

 

Listening Exercise 4 The Orchestra in Action

 

*Goals for Review

 

CHAPTER 3 Scales and Melody

 

1 Scales

 

The Octave

 

The Diatonic Scale

 

The Chromatic Scale

 

Half Steps and Whole Steps

 

2 Melody

 

Tunes

 

[Box] Characteristics of Tunes

 

Listening Exercise 5 Melody and Tune

 

Motives and Themes

 

*Goals for Review

CHAPTER 4 Harmony, Texture, Tonality, and Mode

 

1 Harmony

 

Consonance and Dissonance

 

2 Texture

 

Monophony

 

Homophony and Polyphony

 

Imitation

 

Listening Exercise 6 Texture

 

3 Tonality and Mode

 

Tonality

 

Major and Minor Modes

 

Keys

 

Listening for the Major and Minor Modes

 

Listening for Keys and Modulation

 

Listening Exercise 7 Mode and Key

 

*Goals for Review

CHAPTER 5 Musical Form and Musical Style

 

1 Form in Music

 

Form and Feeling

 

Form and Forms

 

Listening Exercise 8 Musical Form

 

Musical Genres

 

2 Musical Style

 

Musical Style and Lifestyle

 

Benjamin Britten, The Young Person’s Guide to the Orchestra (1946)

 

Listening Chart 1

 

*Goals for Review

UNIT II Early Music: An Overview

*Chronology

CHAPTER 6 The Middle Ages

 

1 Music and the Church

 

Music and Church Services: Liturgy

 

Plainchant

 

Characteristics of Plainchant

 

Gregorian Recitation and Gregorian Melody

 

Anonymous, Plainchant antiphon, “In paradisum” (c. ninth century)

 

Hildegard of Bingen (1098–1179), Plainchant sequence, “Columba aspexit”

 

2 Music at Court

 

Troubadour and Trouvère Songs

 

Bernart de Ventadorn (c. 1135–1194), Troubadour song, “La dousa votz”

 

[Box] How Did Early Music Sound?

 

The Estampie

 

3 The Evolution of Polyphony

 

Organum

 

Pérotin, Organum, “Alleluia. Diffusa est gratia” (c. 1200)

 

4 Later Medieval Polyphony

 

Anonymous, Round, “Sumer Is Icumen In” (late thirteenth century)

 

Ars Nova

 

Guillaume de Machaut (c. 1300–1377), Chanson, “Dame, de qui toute ma joie vient”

 

Global Perspectives Sacred Chant

 

*Goals for Review

CHAPTER 7 The Renaissance

1 New Attitudes

 

Early Homophony

 

Guillaume Dufay (c. 1400–1474), Harmonized hymn, “Ave maris stella”

 

The Mass

 

2 The High Renaissance Style

 

Imitation

 

Homophony

 

Other Characteristics

 

Josquin Desprez, Pange lingua Mass (c. 1510)

 

3 Music as Expression

 

Josquin Desprez, Chanson, “Mille regrets”

 

4 Late Renaissance Music

 

Giovanni Pierluigi da Palestrina, Pope Marcellus Mass (1557)

 

The Motet

 

The Italian Madrigal

 

The English Madrigal

 

Thomas Weelkes, Madrigal, “As Vesta Was from Latmos Hill Descending” (1601)

 

5 Instrumental Music: Early Developments

 

Renaissance Dances

 

Anonymous (sixteenth century), Galliard, “Daphne”

 

Anonymous (sixteenth century), “Kemp’s Jig”

 

Global Perspectives Music and Early European Colonialism

 

*Goals for Review

CHAPTER 8 The Early Baroque Period

1 From Renaissance to Baroque

 

Music in Venice

 

Extravagance and Control

 

Giovanni Gabrieli (c. 1555–1612), Motet, “O magnum mysterium”

 

2 Style Features of Early Baroque Music

 

Rhythm and Meter

 

Texture: Basso Continuo

 

Functional Harmony

 

3 Opera

 

Recitative

 

Claudio Monteverdi (1567–1643)

 

[Box] Singing Italian

 

Claudio Monteverdi, The Coronation of Poppea (1642)

 

Henry Purcell (1659–1695)

 

Henry Purcell, Dido and Aeneas (1689)

 

4 The Rise of Instrumental Music

 

Girolamo Frescobaldi (1583–1643)

 

Girolamo Frescobaldi, Canzona, Balletto, and Corrente (1627–1637)

 

Global Perspectives African Ostinato Forms

 

*Goals for Review

UNIT III The Eighteenth Century

 

*Chronology

CHAPTER 9 Prelude The Late Baroque Period

 

1 Absolutism and the Age of Science

 

Art and Absolutism

 

The Music of Absolutism

 

Art and Theatricality

 

Science and the Arts

 

Science and Music

 

2 Musical Life in the Early Eighteenth Century

 

3 Style Features of Late Baroque Music

 

Rhythm

 

Dynamics

 

Tone Color

 

The Baroque Orchestra

 

Melody

 

Ornamentation

 

Texture

 

The Continuo

 

Musical Form

 

4 The Emotional World of Baroque Music

 

*Goals for Review

CHAPTER 10 Baroque Instrumental Music

 

1 Concerto and Concerto Grosso

 

Movements

 

Ritornello Form

 

Antonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12 (1712–1713)

 

Listening Chart 2

 

[Biography] Antonio Vivaldi (1678–1741)

 

Baroque Variation Form: The Ground Bass

 

Antonio Vivaldi, Violin Concerto in G, La stravaganza, Op. 4, No. 12, second movement

 

Listening Chart 3

 

*Vivaldi’s Greatest Hits

 

*Antonio Vivaldi, Violin Concerto in E, Spring, Op. 8, No. 1 (before 1725)

 

*Listening Chart 4

 

Johann Sebastian Bach, Brandenburg Concerto No. 5, for Flute, Violin, Harpsichord, and Orchestra (before 1721)

 

Listening Chart 5

 

[Biography] Johann Sebastian Bach (1685–1750)

 

2 Fugue

 

Fugal Exposition

 

Fugal Devices

 

Johann Sebastian Bach, Prelude and Fugue in C Major, from The Well-Tempered Clavier, Book 1 (1722)

 

Listening Chart 6

 

[Box] Glenn Gould (1932–1982)

 

3 Baroque Dances

 

The Dance Suite

 

Baroque Dance Form

 

George Frideric Handel, Minuet from The Royal Fireworks Music (1749)

 

Johann Sebastian Bach, Gigue from Cello Suite No. 2 in D Minor (c. 1720)

 

*Goals for Review

CHAPTER 11 Baroque Vocal Music

 

1 Opera

 

Italian Opera Seria

 

Recitative

 

Aria

 

[Box] The Castrato

 

George Frideric Handel, Julius Caesar (1724)

 

2 Oratorio

 

[Biography] George Frideric Handel (1685–1759)

 

George Frideric Handel, Messiah (1742)

 

3 The Church Cantata

 

[Box] Women in Music

 

The Lutheran Chorale

 

Johann Sebastian Bach, Cantata No. 4, “Christ lag in Todesbanden” (1707)

 

*Goals for Review

CHAPTER 12 Prelude Music and the Enlightenment

 

1 The Enlightenment and Music

 

“The Pursuit of Happiness”

 

Art and Entertainment

 

Jean-Jacques Rousseau and Opera

 

The Novel

 

2 The Rise of Concerts

 

3 Style Features of Classical Music

 

Rhythm

 

Dynamics

 

Tone Color: The Classical Orchestra

 

Melody: Tunes

 

Texture: Homophony

 

Classical Counterpoint

 

4 Form in Classical Music

 

Repetitions and Cadences

 

Classical Forms

 

*Goals for Review

CHAPTER 13 The Symphony

 

1 The Movements of the Symphony

 

2 Sonata Form

 

Exposition (A)

 

Development (B)

 

Recapitulation (A′)

 

Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor, K. 550 (1788)

 

Listening Chart 7

 

[Biography] Wolfgang Amadeus Mozart (1756–1791)

 

3 Classical Variation Form

 

*Symphonies of Haydn

 

*Franz Joseph Haydn, Symphony No. 94 in G (“The Surprise”) (1791)

 

*Listening Chart 8

 

[Biography] Franz Joseph Haydn (1732–1809)

 

4 Minuet Form (Classical Dance Form)

 

Baroque and Classical Dance Form

 

*Franz Joseph Haydn, Symphony No. 99 in E-flat (1793)

 

*Listening Chart 9

 

5 Rondo Form

 

*Franz Joseph Haydn, Symphony No. 101 in D (“The Clock”) (1793–1794)

 

*Listening Chart 10

 

*Goals for Review

CHAPTER 14 Other Classical Genres

 

1 The Sonata

 

2 The Classical Concerto

 

Double-Exposition Form

 

Wolfgang Amadeus Mozart, Piano Concerto No. 23 in A, K. 488 (1786)

 

Listening Chart 11

 

3 The String Quartet

 

Chamber Music

 

4 Opera Buffa

 

The Ensemble

 

Wolfgang Amadeus Mozart, Don Giovanni (1787)

 

Global Perspectives Musical Form: Two Case Studies from Asia

 

*Goals for Review

UNIT IV The Nineteenth Century

 

*Chronology

CHAPTER 15 Beethoven

 

1 Between Classicism and Romanticism

 

The French Revolution

 

2 Beethoven and the Symphony

 

[Biography] Ludwig van Beethoven (1770–1827)

 

Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67 (1808)

 

Listening Chart 12

 

Listening Chart 13

 

3 Beethoven’s “Third Period”

 

*Ludwig van Beethoven, Piano Sonata in E, Op. 109 (1820)

 

*Listening Chart 14

 

*Goals for Review

CHAPTER 16 Prelude Music after Beethoven: Romanticism

 

1 Romanticism

 

The Cult of Individual Feeling

 

Romanticism and Revolt

 

Artistic Barriers

 

Music and the Supernatural

 

Music and the Other Arts

 

2 Concert Life in the Nineteenth Century

 

The Artist and the Public

 

3 Style Features of Romantic Music

 

Romantic Melody

 

Romantic Harmony

 

Rhythmic Freedom: Rubato

 

The Expansion of Tone Color

 

4 Program Music

 

5 Form in Romantic Music

 

Miniature Compositions

 

Grandiose Compositions

 

The Principle of Thematic Unity

 

*Goals for Review

CHAPTER 17 The Early Romantics

 

1 The Lied

 

Franz Schubert, “Erlkönig” (The Erlking) (1815)

 

[Biography] Franz Schubert (1797–1828)

 

The Song Cycle

 

Robert Schumann, Dichterliebe (A Poet’s Love) (1840)

 

[Biography] Robert Schumann (1810–1856)

 

Clara Schumann, “Der Mond kommt still gegangen” (The moon has risen softly) (1843)

 

[Biography] Clara Wieck (Clara Schumann) (1819–1896)

 

2 The Character Piece for Piano

 

Franz Schubert, Moment Musical No. 2 in A-flat (1827?)

 

Robert Schumann, Carnaval (1833–1835)

 

Frédéric Chopin, Nocturne in F-sharp, Op. 15, No. 2 (1831)

 

[Biography] Frédéric Chopin (1810–1849)

 

[Biography] Franz Liszt (1811–1886)

 

3 Early Romantic Program Music

 

The Concert Overture: Felix Mendelssohn

 

[Biography] Felix Mendelssohn (1809–1847)

 

[Biography] Fanny Mendelssohn (1805–1847)

 

The Program Symphony: Hector Berlioz

 

Hector Berlioz, Fantastic Symphony: Episodes in the Life of an Artist (1830)

 

Listening Chart 15

 

[Biography] Hector Berlioz (1803–1869)

 

*Goals for Review

CHAPTER 18 Romantic Opera

 

1 Verdi and Italian Opera

 

Recitative and Aria: The Role of the Orchestra

 

[Box] Early Romantic Opera

 

Giuseppe Verdi, Rigoletto (1851)

 

[Biography] Giuseppe Verdi (1813–1901)

 

2 Wagner and Music Drama

 

[Biography] Richard Wagner (1813–1883)

 

The Total Work of Art

 

Leitmotivs

 

[Box] Wagner’s Tristan and Isolde (1859)

 

The Nibelung’s Ring (1848–1874)

 

Richard Wagner, The Valkyrie (1851–1856)

 

3 Late Romantic Opera

 

Giacomo Puccini (1858–1924)

 

Giacomo Puccini, Madame Butterfly (1904)

 

*Goals for Review

CHAPTER 19 The Late Romantics

 

Romanticism and Realism

 

1 Late Romantic Program Music

 

Pyotr Ilyich Tchaikovsky, Overture-Fantasy, Romeo and Juliet (1869, revised 1880)

 

Listening Chart 16

 

[Biography] Pyotr Ilyich Tchaikovsky (1840–1893)

 

2 Nationalism

 

Exoticism

 

The Russian Kuchka

 

Modest Musorgsky, Pictures at an Exhibition (1874)

 

[Biography] Modest Musorgsky (1839–1881)

 

[Box] Other Nationalists

 

3 Responses to Romanticism

 

The Renewal of Classicism: Brahms

 

[Biography] Johannes Brahms (1833–1897)

 

Johannes Brahms, Violin Concerto in D, Op. 77 (1878)

 

Listening Chart 17

 

Romantic Nostalgia: Mahler

 

[Biography] Gustav Mahler (1860–1911)

 

Gustav Mahler, Symphony No. 1 (1888)

 

Listening Chart 18

 

Global Perspectives Musical Drama Worldwide

 

*Goals for Review

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