For freshman/sophomore-level courses in music appreciation. Masterworks is an integrated learning package consisting of a textbook and recordings with supporting on- and off-line multimedia software designed to introduce students to the most important music of the Western tradition, classical and popular. The multimedia elements of the program (a NEW PH Companion Website and off-line CD-ROM) help students of all levels of musical experience to enjoy success from the offset. Students encounter the music through carefully scripted, electronically animated listening exercises. Additionally, numerous opportunities to self-test and review important material throughout build student confidence in their understanding of the concepts and music.

Table of Contents:
Introduction: Hearing the Music. Composers and Performers. Interactive Learning. I. FUNDAMENTALS OF MUSIC STUDY. 1. What's Happening? Gershwin: “Summertime,” from Porgy and Bess (1935). Pitch and Its Notation. Rhythm, Melody, Harmony, Texture, Nuance. Voices and Instruments. Tonality. 2. On Periods, Genres, Titles, Forms, & Schools. Periods of Music History. Titles. Form. Schools. II. HISTORY OF MUSICAL STYLE. 3. The Middle Ages and Renaissance. The Middle Ages. Plainchant: Kyrie eleison (Kyrie Cunctipotens genitor). Hildegard of Bingen: Kyrie eleison (1150). Plainchant Hymn: Pange lingua (c. 1264). Anonymous: Sumer is icumen in (c. 1240). The Renaissance. Josquin Desprez: Déploration sur la mort de Johannes Ockeghem (c. 1497). Byrd: Agnus Dei, from Mass in 4 Parts (1592-93). Andréz Martinez: Agnus Dei, from “Zapotec” Mass (1636). Monteverdi: Io mi son giovinetta (1603). Dowland: Flow My Tears (1600). 4. The Baroque. Venice: Monteverdi and the Opera. Basso Continuo; The Ritornello Principle. Purcell: “When I Am Laid in Earth” (Dido's Lament), from Dido and Aeneas (1689). Vivaldi, Bach, Handel. The Baroque Concerto. Bach: from Double Concerto in D minor, BWV 1043 (c. 1720). Bach: Fugue in C Minor from The Well-Tempered Clavier (book I, 1722). The Suite of Dances. Bach: “Badinerie” from Orchestral Suite No. 2 in B Minor, BWV 1067 (c. 1735). Chorale, Cantata, Oratorio. Bach: From Cantata 80: Ein' feste Burg (c. 1734). Handel: Excerpt from Messiah, (part I, 1741). 5. The Classical Style. Vienna. The Viennese Sonata. Mozart: Eine kleine Nachtmusik, K. 525 (1787), movts. I, III. Mozart and Haydn. Classical Genres. Haydn: From String Quartet in C Major, op. 76, no. 3 (1797, “Emperor”), movt. II: Poco adagio; cantabile. Haydn: From Piano Sonata no. 59 in E flat Major (1790), movt. I: Allegro. Mozart: From Piano Concerto no. 25 in C Major, K. 503 (1786), movt. I: Allegro maestoso. Mozart Operas. Mozart: from Symphony No. 40 in G Minor, K. 550 (1788), movt. I: Allegro non troppo. 6. Romanticism. The French Revolution; Napoleon. Beethoven. Beethoven: Symphony No. 5 in C Minor, op. 67 (1808). Schubert. Schubert: Gretchen am Spinnrade (1814). Romanticism. Schumann: From Carnaval (1835): Arlequin—Valse noble; Chiarina—Chopin. Europe After Napoleon. Paris: Berlioz, Liszt, Chopin. Berlioz: From Symphonie fantastique (1830), movt. V: Dream of a Witches Sabbath. Chopin: Mazurka in A Minor, op. 17, No. 4 (1834). Leipzig: Schumann and Mendelssohn. Romanticism, Again. Romantic Opera. Bellini: “Casta Diva,” from Norma (1831). 7. Götterdämmerung. Verdi and Wagner. Verdi: From Otello (1887): Love Duet (Otello, Desdemona: Act I): “Quando narravi”. Wagner: Brunnhilde's Immolation (Final Scene), from Götterdämmerung (1876). Brahms, Mahler, and Strauss. Brahms: From Variations on a Theme by Haydn, op. 56a (1873): Theme, Variations I-III, Finale. The Nationalists. Smetana: “Furiant,” from The Bartered Bride (1866). Russian Nationalism: The Mighty Handful. Tchaikovsky, Puccini. Tchaikovsky: Romeo and Juliet Overture Fantasy (1869). Paris, Again: Debussy, Ravel, the Ballet Russes, Stravinsky. Debussy: La Soirée dans Grenade (1903). Stravinsky: From The Rite of Spring (1913): Introduction: Les Augures printinières: Danses des Adolescentes. Boulanger: Psalm 24 (1916). III. MUSIC HERE AND NOW. 8. Music in the Land of Plenty. Congregational Singing. Billings: David's Lamentation (1778) and David's Lamentation (performed 1959). Music of the Slaves. Parlor Songs and Quicksteps. Sousa: Semper Fidelis (1888). Joplin: Maple Leaf Rag (1899). Jazz. Handy: St. Louis Blues (1914). Ellington: New East St. Louis Toodle-O (1937). Parker: Lady Be Good (1946). American Classical Music. Beach: from Violin Sonata in A Minor, op. 34 (1896), movt. III: Scherzo. Ives: “Putnam's Camp”, from Three Places in New England (1912). Gershwin: “Summertime,” from Porgy and Bess (1935). Broadway. Rodgers & Hammerstein: “Some Enchanted Evening”, from South Pacific (1949). Bernstein: “Somewhere”, from West Side Story (1957). 9. Getting Hip and Staying That Way. Schoenberg, Berg, Webern. Schoenberg: From Pierrot lunaire, op. 21 (1912): Mondestrunken—Valse de Chopin. Webern: From Symphony, op. 21 (1928), movt. II: Theme and Variations. The Emigration. The Electronic Age. Babbitt: From Philomel (1964). Shulamit Ran. Fusing the Elements. Shulamit Ran, Private Game (1979). Tan: “Opera in Temple Street”, from Symphony 1997 (1997). Epilogue: What Next?