Music

For courses in Music History. 

A History of Music in Western Culture 2/e is based on the premise that the best way to convey the history of Western music is to focus squarely on the music.  Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions.  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.  Even more importantly, they will have a sound basis from which to explore other musical works and repertories.  This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

Mark Evan Bonds wrote A History of Music in Western Culture to help students to gain a broad understanding of the nature of music, its role in society, and the ways in which these have changed over time.  This text seeks to challenge students to think critically about its subject.  The history of music is too often presented (and learned) as one long series of indisputable facts.  The author integrated into this text enough primary source documents:  excerpts from composers' letters, contemporary reviews, theoretical treatises, and the like to demonstrate the ways in which the raw materials of history can be open to conflicting interpretations. Indeed, the most interesting historical issues tend to be precisely those about which experts disagree.

Do you believe that the best way to convey the history of Western music is to focus squarely on the music?

• The narrative of A History of Music in Western Culture is closely integrated with the accompanying Anthology of Scores and the corresponding sets of compact discs.  Every work in the Anthology gets discussed in the text, called out with an icon in the margin cross referenced to both the scores and recordings.
  • Makes it easy for students to use the book, CDs, and scores together.
• NEW!  Performance Practice boxes.  Within each historical era, alternative performances of at least one work are examined in detail.  For the Baroque era, for example, students can compare excerpts from Bach's "Goldberg" Variations as performed by Blandine Verlet, playing on an 18th-century harpsicord, and by Glenn Gould, playing a 20th-century concert grand piano.
  • Students have the opportunity to compare and discuss strikingly different ways of realizing the same work. 
• NEW!  Expanded repertory.  New works in the second edition include excepts from Paganini's Caprices and Liszt's Transcendental Etudes (integrated into an expanded discussion of instrumental virtuosity in the 19th century), the second movement of

  Dvorák's New World Symphony (integrated into an expanded discussion of nationalism in the 19th century), and W. C. Handy's St. Louis Blues (integrated into an expanded discussion of jazz forms and performance traditions in the 20th century).

  • Provides students with more varied works to study.
• A graphic summary of style differences in each part.
  • Highlights the principal differences in musical style between each era (Renaissance vs. Medieval; Baroque vs. Renaissance, etc.)
• Composer Profiles.  Include key biographical information and a survey of principal works.
  • Shows students the life behind the music.

What features in a text do you use to show the history and evolution of music?

• Primary Evidence Boxes.  Contain exerpts from relevant contemporary documents such as composers' letters, dedications, contracts, and critics' reviews.  A brief introduction places each selection in its context and challenges students to think about the interpretation of historical evidence.
  • Exposes students to the raw materials of music history.
• Each of the six parts of the text begins with a prelude including one or more maps.
  • Familiarizes students with the historical and social background of each era.  The first chapter in each part provides an overview of the major stylistic characteristics and theoretical concerns of the music of the era.
• A comparative timeline.  Lists major musical events side-by-side with other significant historical events.
  • Shows the historical context of the music.

Do you use an anthology of scores in your course?

• Two volumes of anthologies are available for this text.  Volume I covers Antiquity through the Baroque Era; Volume II covers music of the Classical Era to the present. 
• The works in the anthologies have been carefully selected to represent the developments in music history discussed in the text.  Every selection in the Anthology of Scores is discussed in the text.
• NEW!  New works.  New selections illustrating 19th-century virtuosity, 19th-century nationalism, and 20th-century jazz have been added.
• NEW!  Improved editions.  New editions of selected works have been provided as needed.  The excerpt from Lully's Armide, for example, now comes from the new (2003) edition of the composer's complete works.  Selected elements of the plain-chant Mass ordinary, in turn, are presented in the modern chant notation of the Liber usualis, providing students with exposure to a different (but widely used) notational system for this repertory.
• NEW!  Integrated commentary.  Excerpts from the text are now integrated into the score anthology at the end of each selection, providing students iwth basic information and a brief discussion of every work.
• NEW!  Improved cross-referencing to text and recordings.  Each selection in the anthology opens with a clear cross-reference to the recorded version of the work (disc and track number) and to the discussion of the work within the text with page number.  In addition, the score and recordings in the anthology now correspond exactly within their chronological span (Volume I of each through the Baroque Era; Volume II of each since the Classical Era).
• NEW!  Internal trackings keyed to recordings. Most longer works now have internal tracks on the recordings; these points are clearly indicated throughout the anthology for each of use by students and instructors alike.

Do you use a recorded anthology in your course?

• Fifteen compact discs complement the text and Anthology of Scores.  Produced by Naxos of America in close coordination with Prentice Hall, these recordings draw on the resources of many different recording labels and feature some of the most distinguished artists and ensembles of our time, such as the Gothic Voices, Anonymous 4, the Hilliard Ensemble, the Orlando Consort, Les Arts Florissants, the Concerto Italiano, the English Baroque Soloists, and the Quatuor Mosaiques.  Representative soloists include Paul O'Dette, Louis Bagger, Emily van Evera, Malcolm Bilsson, and Jessye Norman.  The discs are arranged chronologically and mirror the content and structure of the anthology.
• NEW!  New works.  New selections illustrating 19th-century virtuosity, 19th-century nationalism, and 20th-century jazz have been added.
• NEW!  Internal trackings.  Most longer works now have internal trackings, cross-referenced in the anthology of scores.  This makes it easier for students to follow complex notation and to skip to specific structural movements in any given work, such as the beginning of the recapitulation in a sonata-form work or the beginning of a new text section in a vocal work.
• NEW!  Alternative performances.  For each historical era, at least one work is provided with an alternative performance, available on the supplement compact disc built into the textbook.  The frottola El grillo, ascribed to Josquin de Prez, for example, is performed in its notated version by four voices in Volume One of the Recorded Anthology; the Supplemental Disc offers an additional, very different realization of this same work by a solo singer accompanying herself on the lute.  Students are thereby encouraged to think about the many options available to them as performers for all music of all eras.

What supplementary print and multimedia materials are most useful for your course?

• OneKey for CourseCompass, BlackBoard, or WebCT.  OneKey is our web-based system that delivers all instructor and student online course materials for this text.  With OneKey, all of your resources are in one place for maximum convenience, simplicity, and success.  Includes a complete library of instructor resources including images, PowerPoint slide, maps, instructor's manual, and test item file.  Included for students are:  self-assessment quizzes, an audio pronunciation guide, and electronic "flash cards."
• Instructor's Resource Manual.  Provides a summary, bibliography, a bank of test questions, and suggested discussion topics and activities for each chapter.  These are carefully organized to ease class preparation, instruction, and testing.  New to the second edition are additional questions that are keyed to the recordings and test students' listening skills.
• Prentice Hall Test Generator.  Suitable for both Windows and Macintosh environments, this commercial-quality electronic test-management program allows instructors to select questions from a bank of test questions and design their own exams.
• PowerPoint Lecture Slides.  Mirroring the organization and content of the text, a set of PowerPoint slides provides a useful tool for lectures and classroom presentations.  The value of the slides is further enhanced by the inclusion of all the book's fine art, photos, maps, tables, and charts.
• Companion Website ( www.prenhall.com/bonds ).Provides students with an opportunity to delve more deeply into the ideas and personalities discussed in the text.  Students can evaluate their progress with study and essay questions and report the results to the instructor.  The site also includes an array of historical documents to complement those in the text.  Many of the documents that appear in abbreviated form in the text appear complete on the site.  Essay questions accompany each of these documents.

NEW TO TEXT

• NEW!  Performance Practice boxes.  Within each historical era, alternative performances of at least one work are examined in detail.  For the Baroque era, for example, students can compare excerpts from Bach's "Goldberg" Variations as performed by Blandine Verlet, playing on an 18th-century harpsicord, and by Glenn Gould, playing a 20th-century concert grand piano.
  • Students have the opportunity to compare and discuss strikingly different ways of realizing the same work. 
• NEW!  Expanded repertory.  New works in the second edition include excepts from Paganini's Caprices and Liszt's Transcendental Etudes (integrated into an expanded discussion of instrumental virtuosity in the 19th century), the second movement of

  Dvorák's New World Symphony (integrated into an expanded discussion of nationalism in the 19th century), and W. C. Handy's St. Louis Blues (integrated into an expanded discussion of jazz forms and performance traditions in the 20th century).

  • Provides students with more varied works to study.

NEW TO PRINT ANTHOLOGIES:

• NEW!  New works.  New selections illustrating 19th-century virtuosity, 19th-century nationalism, and 20th-century jazz have been added.
• NEW!  Improved editions.  New editions of selected works have been provided as needed.  The excerpt from Lully's Armide, for example, now comes from the new (2003) edition of the composer's complete works.  Selected elements of the plain-chant Mass ordinary, in turn, are presented in the modern chant notation of the Liber usualis, providing students with exposure to a different (but widely used) notational system for this repertory.
• NEW!  Integrated commentary.  Excerpts from the text are now integrated into the score anthology at the end of each selection, providing students iwth basic information and a brief discussion of every work.
• NEW!  Improved cross-referencing to text and recordings.  Each selection in the anthology opens with a clear cross-reference to the recorded version of the work (disc and track number) and to the discussion of the work within the text with page number.  In addition, the score and recordings in the anthology now correspond exactly within their chronological span (Volume I of each through the Baroque Era; Volume II of each since the Classical Era).

NEW TO RECORDED ANTHOLOGIES:

• NEW!  New works.  New selections illustrating 19th-century virtuosity, 19th-century nationalism, and 20th-century jazz have been added.
• NEW!  Internal trackings.  Most longer works now have internal trackings, cross-referenced in the anthology of scores.  This makes it easier for students to follow complex notation and to skip to specific structural movements in any given work, such as the beginning of the recapitulation in a sonata-form work or the beginning of a new text section in a vocal work.
• NEW!  Alternative performances.  For each historical era, at least one work is provided with an alternative performance, available on the supplement compact disc built into the textbook.  The frottola El grillo, ascribed to Josquin de Prez, for example, is performed in its notated version by four voices in Volume One of the Recorded Anthology; the Supplemental Disc offers an additional, very different realization of this same work by a solo singer accompanying herself on the lute.  Students are thereby encouraged to think about the many options available to them as performers for all music of all eras.

PROLOGUE: ANTIQUITY.

Music in the Biblical World. Ancient Greece. Music in the Roman Empire. The Musical Legacies of Antiquity.

I. THE MEDIEVAL ERA.

Prelude to Part I.

1. Plainchant and Secular Monophony.

The Emergence of Plainchant. The Elements of Plainchant. The Expansion of Plainchant. Secular Monophony.

2. Polyphony to 1300.

Organum. Clausula. Motet. Conductus. Mensural Notation.

3. Music in the 14th Century.

France: The Ars Nova. Italy: The Trecento. England. Instrumental Music.

II. MUSIC OF THE RENAISSANCE.

Prelude to Part II.

Renaissance Humanism. The Protestant Reformation. Renaissance Painting and Sculpture. Music in Renaissance Society.

4. The Emergence of Renaissance Style.

Consonance and Dissonance: Trusting the Ear. Sonority: The Contenance Angloise. Texture: Pervading Imitation. Josquin's Ave Maria...virgo serena and the Style of the Renaissance.

5. The Genres of Renaissance Music, 1420-1520.

Sacred Vocal Music. Secular Vocal Music. Instrumental Music.

Secular Vocal Music. Sacred Vocal Music. Instrumental Music in the 16th Century. Mannerism.

III. THE BAROQUE ERA.

Prelude to Part III.

War, Revolution, and Colonial Expansion. The Scientific Revolution. The Musical Baroque.

7. The New Practice.

Searching for the Secrets of Ancient Greek Music. The Florentine Camerata. The Seconda Prattica. Music in the Baroque Era: A Stylistic Overview.

8. Vocal Music, 1600-1650.

Secular Song. Opera. Sacred Music.

9. Vocal Music, 1600-1750.

Opera. Sacred Music. Conceptions of the Compositional Process.

10. Instrumental Music, 1650-1750.

Instruments of the Baroque Era. Instrumental Genres of the Baroque Era.

IV. THE CLASSICAL ERA.

Prelude to Part IV.

The Age of Enlightenment. War and Revolution. The Industrial Revolution. Music in Enlightenment Society.

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.

12. Instrumental Music in the Classical Era.

The Language of Instrumental Music. Sonata. String Quartet. Cyclical Coherence. The Symphony. Concerto.

13. Vocal Music in 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.

V. THE 19TH CENTURY.

Prelude to Part V.

Progress and Dislocation. Ideas and Ideologies. Reaction, Reform and Revolution. The Musical World of the 19th Century.

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 of Absolute and Program Music. Nationalism and Music. The Growing Division Between "Serious" and "Popular" Music. Music in the 19th Century: A Stylistic Overview.

15. Orchestral Music, 1800-1850.

Bigger Halls, Bigger Audiences, and Louder Instruments. The Symphony. The Concert Overture. The Concerto.

16. Piano Music, Chamber Music, Song.

Beethoven's Piano Sonatas and String Quartets. Song. The Character Piece.

17. Dramatic and Sacred Music.

Opera. Operetta. Sacred Music.

18. Orchestral Music, 1850-1900.

Music for Dancing and Marching. Ballet. The Symphonic Poem. The Symphony.

Prelude to Part VI.

The Impact of Recorded Sound. Modernism: the Shock of the New.

19. The Growth of Pluralism.

Fragmentation versus Diversity. Past versus Present. Recorded versus Live Music. Authenticity. The Uses of Music in the 20th Century. Music in the 20th Century: A Stylistic Overview.

Impressionism. Challenges to Tonality. Primitivism. Ragtime, Jazz and Country Music. Nationalism. New Timbres.

Atonality. Serial Composition.

Neo-Classicism and "The New Objectivity." Orchestral Music. Film Music. Ballet. Chamber Music. Song. Musical Theater.

The Quest for Innovation. Combinatoriality. Integral Serialism. Aleatory Music. Electronic Music. Rock Music. Folk Music. Jazz. Minimalism. Postmodernism.

Epilogue: Music at the Beginning of the 21st Century.

Music History (Two Semesters)  (Music)

• 
  History of Music in Western Culture Black & White, 2/E
  Bonds
  ©2006 | Prentice Hall | Kit/Package/ShrinkWrap; 720 pp | Instock
  ISBN-10: 0205695167 | ISBN-13: 9780205695164
  Brief Description

  

  A History of Music in Western Culture 2/e is based on the premise that the best way to convey the history of Western music is to focus squarely on the music.  Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions.  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.  Even more importantly, they will have a sound basis from which to explore other musical works and repertories.  This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

   

  Mark Evan Bonds wrote A History of Music in Western Culture to help students to gain a broad understanding of the nature of music, its role in society, and the ways in which these have changed over time.  This text seeks to challenge students to think critically about its subject.  The history of music is too often presented (and learned) as one long series of indisputable facts.  The author integrated into this text enough primary source documents:  excerpts from composers' letters, contemporary reviews, theoretical treatises, and the like to demonstrate the ways in which the raw materials of history can be open to conflicting interpretations. Indeed, the most interesting historical issues tend to be precisely those about which experts disagree.

• 
  History of Music in Western Culture, A, 3/E
  Bonds
  ©2010 | Prentice Hall | Cloth; 696 pp | Instock
  ISBN-10: 0205645313 | ISBN-13: 9780205645312
  Brief Description | Buy from myPearsonStore

  

  For courses in Music History. 

   

  A History of Music in Western Culture 3/e is based on the premise that the best way to convey the history of Western music is to focus on the music.  Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions.  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.  Even more importantly, 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.

   

  And for the first time, we are pleased to offer MyMusicKit, an online learning resource for students. MyMusicKit contains the following materials to reinforce the course material:  

   

  ·    Chapter summaries and questions

  ·    Flash cards with pronunciation and sound clips

  ·    Historical timeline

  ·    Primary Source Material

  ·    Documentaries on Historical Periods

  ·    Downloadable Listening Software to be used with the CD sets

  ·    Inside the Orchestra video

   

  Review this title!

  Pearson's Reading Hour Program for Instructors

  Interested in reviewing new texts in Music?

  Click on the below link to choose an electronic chapter to preview…

  Settle back, read, and receive a Penguin paperback for your time!

  http://www.pearsonhighered.com/readinghour/music

   

   Feedback on A History of Music in Western Culture from the Reading Hour program:

  "Content is excellent and more comprehensive." - Steven Edwards, Delgado Community College 

  "I enjoyed this chapter- it was quite readable." - Deborah Dakin, Augustana College

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OneKey Blackboard, A History of Music in Western Culture, 2/E
Bonds
©2006 | Prentice Hall | Electronic Book | Instock
ISBN-10: 0131943812 | ISBN-13: 9780131943810
URL:  http://bb6demo.pearsoncmg.com/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_304_1

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Companion Website - Bonds, 2/E
Bonds
©2006 | Prentice Hall | On-line Supplement | Instock
ISBN-10: 0131931083 | ISBN-13: 9780131931084
URL:  http://www.prenhall.com/bonds

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