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Summary What Is Music? 9 plucked, we hear the string vibrating its entire length. The tone we hear is called the fundamental. What we may not be aware of is that at the same time the fundamental is sounding, the string is also vibrating at half of its length, a quarter of its length, etc. The individual overtones, called harmonics or partials, co-exist with the fundamental, but at a much lower volume. The harmonics are heard only to the extent that they blend to create a tonal character, or timbre, for the note being played. The relative volumes of these harmonics are unique to every voice and every instrument, so that no two people or instruments are precisely the same. This property is what gives every instrument and voice its unique timbre. Interestingly, the uniqueness of the overtone series is the property that makes voice print identification possible. The terms consonance and dissonance refer to the popular perception of combinations of notes that either sound pleasing or displeasing to the ear. This perception changes of course, as history progresses, but usually it is seen as a blending of two or more notes played simultaneously that feel at ease for consonance. In the case of dissonance, it is groupings that seem to need resolution to some sort of consonance. When musical instruments are designed and manufactured, careful attention is paid to the materials used and the construction techniques, because every facet of the process affects the overtone series, and therefore the timbre of the instrument. When one hears about famous instruments, such as the string instruments built by Stradivarius, the one thing that makes these instruments so valuable is the timbre. The unique timbre of these instruments is a complex combination of the wood, glue, and varnish used, along with the shape and the construction methods. Even with today’s advances in technology and our understanding of acoustics, manufacturers can only approximate the sound of a Stradivarius instrument. Music, like air, is familiar to all of us, yet most of us cannot describe its origin or its components. People seem to need music, as evidenced by the fact that every civilization ever studied has had music as a major aspect of its culture. Yet the only large body of written music comes from the post-Roman civilizations of the Western Hemisphere. That does not mean that other cultures did not have sophisticated music performance practices, only that Western cultures evolved along different lines. The four properties of musical sounds, pitch, duration, dynamics, and timbre, are the raw materials from which music is constructed. Though we will only occasionally refer to these properties as our study of music history progresses, remember that the music we hear cannot be discussed or written down without knowing them. Now that you understand more about how music is created and composed, you can think back to the Hoedown which you listened to earlier and think about how you would describe it now. Did you feel like yelling yee-ha? Did it sound American? Why did it sound like cowboys? All these concepts are taken into consideration when a composer wants to make music that promotes a specific image. Copland did a fantastic job of creating just the right timbre, pitch, duration and dynamics in all of the instruments of the orchestra to make his listeners share his vision.
10 Chapter 1 Key Terms adagio mezzo forte allegro mezzo piano andante moderato compound meter overtone series consonance pianissimo crescendo piano decrescendo pitch dissonance presto duple meter prestissimo dynamics rhythm forte tempo fortissimo timbre frequency time signature grave triple meter harmonics vivace lento
Page 2 and 3: Track Title/Composer/Performer Musi
Page 4 and 5: M usic to Your Ears An Introduction
Page 6 and 7: Contents Preface vii 1 What Is Musi
Page 8 and 9: 7 Beethoven and the Transition to R
Page 10: Preface The purpose of this book is
Page 13 and 14: 2 Chapter 1 that might have puzzled
Page 15 and 16: 4 Chapter 1 Writings from the Greek
Page 17 and 18: 6 Chapter 1 Figure 2 The treble cle
Page 19: 8 Chapter 1 Often a musician will f
Page 24 and 25: 2 Musical Instruments Evidence exis
Page 26 and 27: saxophone Musical Instruments 15 ho
Page 28 and 29: Musical Instruments 17 musician to
Page 30 and 31: The Percussion Family timpani Music
Page 32 and 33: The Symphony Orchestra Percussion H
Page 34: Name Date Chapter 2 Review Musical
Page 37 and 38: 26 Chapter 3 Gregorian Chant Gregor
Page 39 and 40: 28 Chapter 3 requirements of the Ch
Page 41 and 42: 30 Chapter 3 Summary residences at
Page 44 and 45: 4 The Renaissance Music History Tim
Page 46 and 47: The Mass The Renaissance 35 Since b
Page 48 and 49: Listen to This The Renaissance 37 P
Page 50 and 51: Listen to This Track 4 Renaissance
Page 52: The Renaissance 41 of the dance ste
Page 56 and 57: 5 Music of the Baroque The name Bar
Page 58 and 59: Music of the Baroque 47 chord progr
Page 60 and 61: Music of the Baroque 49 Astute read
Page 62 and 63: Music of the Baroque 51 special occ
Page 64 and 65: Music of the Baroque 53 sing. Occas
Page 66 and 67: Typical Fugue Exposition (4-part) M
Page 68: Name Date Chapter 5 Review Music of
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60 Chapter 6 The Piano governments
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62 Chapter 6 A. (statement) Twinkle
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64 Chapter 6 The Symphony First Mov
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66 Chapter 6 The Concerto The fourt
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68 Chapter 6 Composer Profile Wolfg
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70 Chapter 6 Summary Haydn’s symp
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7 Cultural Overview Beethoven and t
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Beethoven’s Music Beethoven and t
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Beethoven and the Transition to Rom
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Beethoven and the Transition to Rom
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Name Date Chapter 7 Review Beethove
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84 Chapter 8 Romantic Thinking The
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86 Chapter 8 Likewise, chamber musi
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88 Chapter 8 The Character Piece Fa
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90 Chapter 8 Schumann began showing
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92 Chapter 8 decline rapidly. He wa
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94 Chapter 8 Composer Profile Franz
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Name Date 1. What is a lied? 2. Who
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100 Chapter 9 characteristics an in
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102 Chapter 9 the Nibelung. These o
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104 Chapter 9 music drama as “a t
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106 Chapter 9 Beethoven’s music s
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108 Chapter 9 twenty years of her l
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110 Chapter 9 Nationalism cycles he
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112 Chapter 9 Composer Profile Anto
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Name Date Chapter 9 Review The Late
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118 Chapter 10 Music History Timeli
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120 Chapter 10 The Impressionistic
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122 Chapter 10 2 4 7 9 11 1 3 5 6 8
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124 Chapter 10 Music composed in th
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126 Chapter 10 Spain pivotal works
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128 Chapter 10 American works by or
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130 Chapter 10 that the sounds arou
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132 Chapter 10 Key Terms absolute m
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11 Introduction Beyond Classical Mu
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The Big Band Era Beyond Classical M
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Beyond Classical Music 139 This aca
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Beyond Classical Music 141 was noth
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Glossary a cappella Vocal music tha
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Glossary 147 cadenza Unaccompanied,
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Glossary 149 country western Type o
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Glossary 151 fusion A type of jazz
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inversion Mirror image of a melody
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Glossary 155 Neo-Classical Strictly
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Glossary 157 pure music Music that
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Glossary 159 spiritual Sung by Afri
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Glossary 161 triple meter A metric
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Bibliographic References Apel, Will
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166 Index chant, 25-27 character pi
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168 Index Neo-Romantic, 118, 124 no
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104 Chapter 9 music drama as “a t
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