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The Enjoyment of Music cover

The Enjoyment of Music

with Ebook and Total Access Registration

by Kristine Forney, Andrew Dell'Antonio, Joseph Machlis

14th Edition

Publisher: W. W. Norton & Company

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Book Details

Print ISBN9780393872439
eText ISBN9780393876642
PublisherW. W. Norton & Company
Publishing Year2022
Edition14th Edition
LanguageEnglish
Pages560

The 14th Edition of The Enjoyment of Music provides college students with a structured introduction to music appreciation and analytical listening skills. Authors Kristine Forney, Andrew Dell'Antonio, and Joseph Machlis begin by examining core musical building blocks, including melody, rhythm, meter, harmony, musical texture, form, tempo, dynamics, and instrument families.

The content progresses chronologically through major historical eras and musical traditions. Early chapters focus on Middle Ages chant, Renaissance polyphony, and secular madrigals, moving into Baroque concertos, Lutheran cantatas, Classical symphonies, and nineteenth-century Romantic Lieder. Subsequent sections address twentieth-century modernism, jazz and blues traditions, sacred music, American musical theater, rock history, and contemporary film scores.

Published by W. W. Norton & Company in 2022, this 560-page paperback textbook is designed for undergraduate music appreciation courses. It includes access to digital options such as Norton Ebook Courseware Total Access to support student coursework.

Table of Contents

  1. Chapter Prelude 1: The Enjoyment of Music

  2. Chapter 1: Melody: Musical Line

  3. Chapter 2: Rhythm and Meter: Musical Time

  4. Chapter 3: Harmony: Musical Depth

  5. Chapter 4: The Organization of Musical Sounds

  6. Chapter 5: Musical Texture

  7. Chapter 6: Musical Form

  8. Chapter 7: Musical Expression: Tempo and Dynamics

  9. Chapter 8: Text and Music

  10. Chapter 9: Voices and Instrument Families

  11. Chapter 10: Western Musical Instruments

  12. Chapter 11: Musical Ensembles

    • • LG 1 Britten: The Young Person’s Guide to the Orchestra
  13. Chapter 12: Style and Function of Music in Society

  14. Chapter 13: Many Voices: Creating and Recreating Musical Canons

  15. Chapter 14: Putting Music into Words

  16. Chapter Prelude 2: Music as Commodity and Social Activity

  17. Chapter 15: Voice and Worship: Tradition and Individuality in Medieval Chant

    • • LG 2 Two Examples of Chant: Gregorian Chant, Kyrie; Hildegard of Bingen, Alleluia, O virgo mediatrix
  18. Chapter 16: Layering Lines: Early Polyphony of the Notre Dame School

    • • LG 3 Notre Dame School: Gaude Maria virgo
  19. Chapter 17: Storytelling through Song: Troubadours and Medieval Court Culture

    • • LG 4 Raimbaut de Vaquieras: Kalenda maya
  20. Chapter 18: Symbols and Puzzles: Machaut and the Medieval Mind

    • • LG 5 Machaut: Ma fin est mon commencement
  21. Chapter 19: Singing Friendship: The Renaissance Madrigal

    • • LG 6 Monteverdi: Si ch’io vorrei morire
    • • LG 7 Farmer: Fair Phyllis
  22. Chapter 20: Remember Me: Personalizing the Motet in the Renaissance

    • • LG 8 Josquin: Ave Maria . . . virgo serena
  23. Chapter 21: Glory Be: Music for the Renaissance Mass

    • • LG 9 Palestrina: Gloria, from Pope Marcellus Mass
  24. Chapter 22: Instrumental Movements: Medieval and Renaissance Dance Music

    • • LG 10 Susato: Three Dances
  25. Chapter Prelude 3: Music as Exploration and Drama

  26. Chapter 23: Voicing Gender: Women Composers in Baroque Italy

    • • LG 11 Cozzolani: Magnificat
    • • LG 12 Strozzi: Amor dormiglione
  27. Chapter 24: Performing Grief: Purcell and Early Opera

    • • LG 13 Purcell: Dido and Aeneas: Act III, Opening and Lament
  28. Chapter 25: Musical Sermons: Bach and the Lutheran Cantata

    • • LG 14 Bach: Cantata No. 140: Wachet auf, Nos. 1, 4, 7
  29. Chapter 26: Textures of Worship: Handel and the English Oratorio

    • • LG 15 Handel: Messiah, Nos. 18 and 44
  30. Chapter 27: Independent Study: Billings and the North American Sacred Tradition

    • • LG 16 Billings: David’s Lamentation
  31. Chapter 28: Grace and Grandeur: The Baroque Dance Suite

    • • LG 17 Bach: Orchestral Suite No. 3, Air and Gigue
  32. Chapter 29: Sounding Spring: Vivaldi and the Baroque Concerto

    • • LG 18 Vivaldi: Spring, from The Four Seasons, I
  33. Chapter 30: Process as Meaning: Bach and the Fugue

    • • LG 19 Bach: “Little” Fugue in G minor, BWV 578
  34. Chapter Prelude 4: Music as Order and Logic

  35. Chapter 31: Musical Conversations: Haydn and Classical Chamber Music

    • • LG 20 Haydn: String Quartet in E-flat Major, Op. 33, No. 2 (Joke), IV
  36. Chapter 32: The Ultimate Instrument: Haydn and the Symphony

    • • LG 21 Haydn: Symphony No. 94 in G Major (Surprise), II
  37. Chapter 33: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms

    • • LG 22 Mozart: Eine kleine Nachtmusik, I and III
  38. Chapter 34: Conversation with a Leader: The Classical Concerto

    • • LG 23 Mozart: Piano Concerto in G Major, K. 453, I
  39. Chapter 35: Personalizing the Conversation: Beethoven and the Classical Sonata

    • • LG 24 Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight), I
  40. Chapter 36: Disrupting the Conversation: Beethoven and the Symphony in Transition

    • • LG 25 Beethoven: Symphony No. 5 in C Minor, Op. 67
  41. Chapter 37: Making It Real: Mozart and Classical Opera

    • • LG 26 Mozart: The Marriage of Figaro, Act I, excerpts
  42. Chapter 38: Mourning a Hero: Mozart and the Requiem

    • • LG 27 Mozart: Dies irae, from Requiem
  43. Chapter Prelude 5: Music as Passion and Individualism

  44. Chapter 39: Musical Reading: Schubert, Schumann, and the Early Romantic Lied

    • • LG 28 Schubert: Elf-King
    • • LG 29 Schumann: In the Lovely Month of May, from A Poet’s Love
  45. Chapter 40: Marketing Music: Foster and Early “Popular” Song

    • • LG 30 Foster: Jeanie with the Light Brown Hair
  46. Chapter 41: Fire and Fury at the Keyboard: Chopin and Romantic Piano Music

    • • LG 31 Chopin: Étude, Op. 10, No. 12 (Revolutionary)
  47. Chapter 42: Musical Diaries: Hensel and Programmatic Piano Music

    • • LG 32 Hensel: September: At the River, from The Year
  48. Chapter 43: Personal Soundtracks: Berlioz and the Program Symphony

    • • LG 33 Berlioz: Symphonie fantastique, IV and V
  49. Chapter 44: Sounding Literature: Orchestral Program Music by Mendelssohn and Grieg

    • • LG 34 Mendelssohn: Overture to A Midsummer Night’s Dream
    • • LG 35 Grieg: Peer Gynt, Suite No. 1 (Op. 46), excerpts
  50. Chapter 45: Absolutely Classic: Brahms and the Nineteenth-Century Symphony

    • • LG 36 Brahms: Symphony No. 3 in F Major, III
  51. Chapter 46: Multimedia Hits: Verdi and Italian Romantic Opera

    • • LG 37 Verdi: Rigoletto, Act III, excerpts
  52. Chapter 47: Total Art: Wagner and German Romantic Opera

    • • LG 38 Wagner: Die Walküre, Act III, Opening and Finale
  53. Chapter 48: Embracing Death: Brahms and the Requiem

    • • LG 39 Brahms: A German Requiem, IV
  54. Chapter 49: Poetry in Motion: Tchaikovsky and the Ballet

    • • LG 40 Tchaikovsky: The Nutcracker, Two Dances
  55. Chapter 50: Exotic Allure: Puccini and the Italian Verismo Tradition

    • • LG 41 Puccini: Madame Butterfly, “Un bel dì”
  56. Chapter 51: Mythical Impressions: Program Music at the End of the Nineteenth Century

    • • LG 42 Debussy: Prelude to “The Afternoon of a Faun”
  57. Chapter 52: Nationalism Crosses the Ocean: Dvořák and Romanticism in the USA

    • • LG 43 Dvořák: String Quartet in F Major, Op. 96 (American), I
  58. Chapter 53: Jubilees and Jubilation: The African American Spiritual Tradition

    • • LG 44 Spiritual: Swing Low, Sweet Chariot
  59. Chapter 54: A Good Beat: American Vernacular Music at the Close of an Era

    • • LG 45 Joplin: Maple Leaf Rag
  60. Chapter Prelude 6: Making Music Modern

  61. Chapter 55: Anything Goes: Schoenberg and Musical Expressionism

    • • LG 46 Schoenberg: Pierrot lunaire, Part III, No. 18
  62. Chapter 56: Calculated Shock: Stravinsky and Modernist Multimedia

    • • LG 47 Stravinsky: The Rite of Spring, Part I, excerpts
  63. Chapter 57: Still Sacred: Religious Music in the Twentieth Century

    • • LG 48 Boulanger: Psalm 24
  64. Chapter 58: War Is Hell: Berg and Expressionist Opera

    • • LG 49 Berg: Wozzeck, Act III: scene 4, Interlude, scene 5
  65. Chapter 59: American Intersections: Jazz and Blues Traditions

    • • LG 50 Holiday: Billie’s Blues
    • • LG 51 Strayhorn: Take the A Train
  66. Chapter 60: Modern America: Still and Musical Modernism in the United States

    • • LG 52 Still: Suite for Violin and Piano, III
  67. Chapter 61: Jazz Gets Classical: Gershwin’s Modern Experiment

    • • LG 53 Gershwin: Rhapsody in Blue
  68. Chapter 62: Sounds American: Ives, Copland, and Musical Nationalism

    • • LG 54 Ives: Country Band March
    • • LG 55 Copland: Appalachian Spring, excerpts
  69. Chapter 63: Also American: Revueltas and Mexican Musical Modernism

    • • LG 56 Revueltas: ”Noche de Jaranas,” from La noche de los Mayas
  70. Chapter 64: Classic Rethinking: Bartók and the Neo-Classical Turn

    • • LG 57 Bartók: Interrupted Intermezzo, from Concerto for Orchestra
  71. Chapter Prelude 7: Beyond Modernism?

  72. Chapter 65: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

    • • LG 58 Cage: Sonata V, from Sonatas and Interludes
    • • LG 59 Crumb: Caballito negro
  73. Chapter 66: Staged Sentiment: Bernstein and American Musical Theater

    • • LG 60 Bernstein: West Side Story, excerpts
  74. Chapter 67: Less Is More: Reich and Minimalist Music

    • • LG 61 Reich: Electric Counterpoint, III
  75. Chapter 68: Rolling Beethoven Over: Roots and Reworkings of Rock

  76. Chapter 69: Returning with Interest: Bowie, Glass, and Postmodern Elaboration

    • • LG 62 Glass: Symphony No. 4 (Heroes), I
  77. Chapter 70: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century

    • • LG 63 Higdon: blue cathedral
  78. Chapter 71: Underscoring Meaning: Music for Film

    • • LG 64 Williams: Imperial March, from The Empire Strikes Back
    • • LG 65 Tan Dun: Farewell, from Crouching Tiger, Hidden Dragon
  79. Chapter 72: Icons in Sound: Tavener and Postmodern Orthodoxy

    • • LG 66 Tavener: A Hymn to the Mother of God
  80. Chapter 73: Reality Shows: Adams and Contemporary Opera

    • • LG 67 Adams: Doctor Atomic, excerpts
  81. Chapter 74: Syncretism and Universalism: León and the Intersection of Traditions

    • • LG 68 Leon: “Understanding,” from Inura (In Motion)

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