Top Three Reasons to Adopt Take Note for Your Music Appreciation Course

A Progressive Listening Approach� is innovative music appreciation text helps students become active and a� entive lis-

teners through an in-depth examination of a recurring repertory of core musical works.

Historical CoverageWith a three-chapter overview of Western music from the medieval period to the

present, brief composer biographies, and boxes relating music to the other arts

throughout the text, Take Note connects students with the fascinating stories of the

people, places, and events that shaped the development of Western music.

Robust Support PackageTake Note o� ers a full suite of teaching and learning tools to help you and your

students achieve your Music Appreciation course goals—from streaming

audio, interactive listening guides, and auto-graded assessments to teaching

strategies, PowerPoint® presentations, access to Oxford Music Online, and

more!

Turn the page to learn more . . .

Progressive Listening Approach Emphasizing Core Musical Works Take Note explores the elements of music through the lens of a select group of musical works that were carefully chosen to re� ect a variety of styles (piano, winds, brass, and percussion) and genres (jazz, lieder, world, and choral music). Starting with simpler examples and progress-ing to more complex pieces, students will develop their listening skills while getting to know these core selections.

Full chapters devoted to each of the basic elements of the musical experience—form, timbre, rhythm, meter, melody, harmony, and texture—give stu-dents a deeper understanding of how all of these elements come together to make music work. Special chapters on Music in Context show how music and text are combined in vocal works and musical dramas.

vii

Contents

Contents in Brief v

Contents viiGuide to the Core Repertory of Musical Works xxii

Letter from the Author xxiii

About the Author xxiii

Preface xxiv

Acknowledgments xxviii

ChAPteR 1 Learning to Listen Actively 1take Note 1

Chapter Objectives 2

Chronology of Music Discussed in this Chapter 2

Active Listening 2

The Listening Situation 2

A Core Repertory of Works 3

Key elements of Music 3

Form 4Timbre 4Rhythm and Meter 4Melody 5Harmony 5Texture 6

Music in Context 6

Music and Text 6Music and Drama 6

Listening Practice 7

An Emotional Response to Music 7 Learning to Listen guide: Dvorák: Slavonic Dance in E minor,

op. 72, no. 10 8Focus On Antonín Dvorák (1841–1904) 8In History Dvorák’s Slavonic Dance in E minor, op. 72, no. 10 9From Emotional to Active Listening 9 Learning to Listen guide: Mozart: Symphony no. 40 in G minor, K. 550 11Focus On Wolfgang Amadeus Mozart (1756–1791) 12If You Liked This Music 12 Learning to Listen guide: Bach: Concerto in D minor for harpsichord

and strings, BWV 1052 14Focus On Original Instruments 15 Learning to Listen guide: Crumb: Black Angels 17Focus On George Crumb (b. 1929) 17

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235Chapter 9 Harmony and Texture

When two people are in harmony, they understand each other and cooperate. When we say that an opinion harmonizes with reality, we mean that it is consistent with what we know to be true. On the other hand, if we turn on the television, and two commentators are speaking in point-counterpoint, we can expect an argument. We know that we will be hearing different voices and different opinions, which often cause disharmony.

In each case, we are using metaphors taken from music. Perhaps you have heard someone refer to an important idea as key, or you have heard that some-one is delivering a keynote address. You may not have realized that these, too, are musical metaphors. Most music we hear is written in a key, meaning that the piece consistently returns to a few familiar chords and to a central note, known as the keynote, or tonic.

Chords, two or more notes sounded simultaneously, are a way of explaining what is going on harmonically in a piece of music. If we consider music on a grid, as we did in Chapter 7 when thinking about beats, melody is the horizontal ele-ment and harmony is the vertical element. What occurs when two or more tones sound simultaneously? Is the sound pleasant or unpleasant? Do we feel increasing tension, or are we heading toward relaxation or resolution? These are questions about harmony. Texture also describes the way notes sound together, but it per-tains to the number of notes and their relationship to each other. Does each note belong to an independent melody, or do some notes play an accompanying role? It is common for music to feature one melody accompanied by subordinate lines combined into chords. Counterpoint, on the other hand, is a method for crafting separate, equally valid melodies that make sense when they are played or sung at the same time. When two or more melodies are heard together, they give music a more complex texture. The historical development of harmony in Western music began with the combination of different melodic lines through the use of coun-terpoint.

Listen to virtually any piece on the listening list, and harmony will be front and center. This does not mean that harmony always plays the same role—far from it! The way Josquin des Prez uses harmony is vastly different from the way Beethoven uses it. Beethoven’s harmony, in turn, is not at all like that of Debussy, or Stravinsky, or Crumb. This chapter will look at harmonic practices throughout the history of Western music.

The Middle Ages: TextureIn the Middle Ages, harmony as we understand it today was in its earliest stages. In fact, the harmonic aspects of much early music can be best understood in terms of texture—the level of complexity—rather than chords. At this point, texture, not harmony, was in the driver’s seat.

Monophonic TextureIn monophonic music, only one note is played or sung at a time. This is the simplest, most basic, and most widespread musical texture. Any time you sing by yourself, you are singing monophonic music. A group of singers all singing the same notes are also singing in monophony. There is no accompaniment and, hence, no harmony.

Tonic: The main note and/or chord of a key, or of a piece written in that key.

Chapter Objectives

Define texture and harmony, and learn how their relationship has evolved through various musical periods.

Distinguish between monophonic and polyphonic textures, as well as dissonance and consonance.

Understand counterpoint as a significant musical development of the Middle Ages and Renaissance.

Recognize and distinguish between major and minor chords, and identify the way functional harmony serves as a building block for musical form.

Hear how harmonic elements have evolved from the Romantic period to the present.

Chronology of Music Discussed in this Chapter

14th CenturyGuillaume de Machaut p. 238Foy porter, virelaiLasse! comment oublieray/Se j’aim mon loyal/Pour quoy me bat mes maris?, motet

ca. 1480’sJosquin des PrezMissa “L’homme armé” super voces musicales: Kyrie, p. 239; Agnus Dei p. 240

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Chapter Objectives open each chapter, providing a quick guide to the contents to be covered and the key ideas that students should learn.

253Chapter 9 Harmony and Texture

In technical terms, the harmony now contains more dissonance than conso-nance. Traditional musical syntax dictates that a dissonant chord be followed by a consonant one. To follow a dissonance with another dissonance, and then another—as Wagner does here—is like writing a sentence consisting almost entirely of verbs.

LEARNING TO LISTEN GuIdE

TAKE NOTE OF MELODY AND HARMONY

What to Listen For: The lack of harmonic resolution, which makes this music sound restless and unsettled.

Wagner: Tristan und Isolde, Prelude, beginningdate: 1859Instrumentation: Large orchestraKey: A minorMeter: 68 (two slowly moving groups of three beats per measure)

TIME PROGRESSION COMMENT

0:00 Opening motive The motive representing Tristan is stated by the cello, with the winds adding the harmonies that make up the famous “Tristan chord” progression.

0:21 Repetition The opening is repeated at a higher pitch.

0:41 Repetition and continuation It is repeated on yet a higher pitch and then extended.

1:35 Love theme The theme representing the love between Tristan and Isolde is played by the cellos. This is the first music heard so far that can be played on the white keys alone.

Streaming audio track 51.

If You Liked This Music . . .A Quick Listen to WagnerWagner’s operas are long and daunting, but for a quick glimpse at his dramatic genius, the following are recommended:• Wotan’s Farewell from Die Walküre—The

scene in which the king of the gods leaves his daughter Brünnhilde defenseless except for the ring of magic fire with which he surrounds her is deeply affecting, especially if you listen to the duet that precedes it (approximately the last 40 minutes of Act III).

• The song contest from Die Meistersinger von Nürnberg. The conclusion of Act III of Wagner’s only mature comic opera contrasts Walther von Stolzing’s stunning prize song

with a very funny misreading of it by his rival Beckmesser.

• The Liebestod from Tristan und Isolde—Isolde’s “love death,” with which the opera concludes, is frequently paired with the prelude in performance.

• After listening to these examples, you might also consider watching the Star Wars movies and paying particular attention to John Williams’s music. Williams deliberately imitated many of Wagner’s techniques, particularly the use of pregnant motives to represent characters and ideas in the plot.

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Learning to Listen Guides throughout the text give timed explanations of each recorded work to help students identify the basic musical elements.

97Chapter 4 The Twentieth Century and Beyond: Modernism and Jazz

anything but a 20th-century composition, just as there is no chance of mistaking a skyscraper for a cathedral spire. The short, detached chords at the opening, the percussive timbres of the pianos used in combination with the orchestral winds, the dissonant harmonies, and the sudden shifts and changes heard throughout the piece all mark it as a product of its own time.

LEARNING TO LISTEN GuIdE

TAKE NOTE OF TIMBRE AND TEXTURE

What to Listen For: The unusual orchestral sonorities; the often chant-like enunciation of the text.

Stravinsky: Symphony of PsalmsI: Exaudi orationemdate: 1930

Instrumentation: Large orchestra and four-part mixed choir

Key: Variable key centers

Meter: Variable meters

Core Repertory Connection: Stravinsky’s Symphony of Psalms will be discussed again in Chapters 6 and 9.

TIME ORIGINAL TExT TRANSLATION COMMENT

0:00 The introduction features the distinctive sound of Stravinsky’s orchestra, which includes two pianos.

0:34 Exaudi orationem meam, Domine

Hear my prayer, O Lord The first phrase of text is sung by the altos alone.

0:53 Et deprecationem meam. and give ear unto my cry; The next phrase is sung by the full choir.

1:03 A brief orchestral interlude features the oboe.

1:09 Audibus percipe lacrimas meas.

hold not Thy peace at my tears!

The third phrase of the text is again sung by the altos, followed by a resounding chord played by the full orchestra.

1:29 Ne sileas. The words “ne sileas” (“do not be silent”) are sung by the altos and basses with a faster-moving accompaniment.

1:39 Quoniam advena ego sum apud te et peregrinus,

Sicut omnes patres mei.

For I am thy passing guest,

a sojourner, like all my fathers.

The accompaniment slows down again for the next two phrases, which are sung first by the altos and basses and then by the full choir. At the word “mei,” the orchestra becomes noticeably louder and more active.

2:27 Remitte mihi, prius quam abeam et amplius non ero.

Look away from me, that I may know gladness, before I depart and be no more.

Ps. 39: 12–13 (RSV)

From this point on, the choir sings continuously, although the texture of the orchestral accompaniment shifts several times.

Streaming audio track 63.

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Online interactive listening guides available on the book’s Dashboard website combine a visual representation of key works with running com-mentary to help students follow along in real time while they listen to the music.

If You Liked This Music boxes encourage students to expand their play-lists and listening skills beyond the core repertory by o� ering additional listening suggestions throughout the text.

91

Chapter

4The Twentieth Century and Beyond: Modernism and JazzTake NoTe

In the Modern period, the musical mainstream moved away from Western

Europe to encompass composers from Eastern Europe and America.

American popular music rose to assert itself as a major counterforce to the

European classical tradition. Works of jazz provide an excellent listening

example for exploring the basic elements of music.

Igor Stravinsky (1882–1971)

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Historical CoverageIn order for students to fully appreciate and understand music, Take Note contains numerous chapters and features that explore the development of Western music over time.

Chapters 2, 3, and 4 provide an overview of Western music from the Medieval period to the present.

Timelines and Chronologies of Works place selections and key developments in music history in the context of world history.

Timeline 3.1 The ClassiCal era (1750–1825)

1750

1800

1825

World evenTs MusiCal MilesTones

First documented performance of an opera in America, in New Orleans (1796)

Johann Stamitz named director of instrumental music at Mannheim, home of the first modern symphonic orchestra (1750)

= beginning of Event or Milestone

United States establishes Monroe Doctrine (1823)

The War of 1812 between the United States and United Kingdom (1812–15)

Congress of Vienna (1815)

Eli Whitney invents the cotton gin (1793)

American and French Revolutions (1776–89)

Napoleon is Emperor of France (1804–15)

James Watt improves the design of the steam engine (1765)

Seven Years War in Europe (1756–63)

Robert Fulton invents practical steamboat (1807)

Carl Philipp Emanuel Bach (German—1714–1788)

Christoph Willibald Gluck (Bohemian/Austrian—1714–87)

Joseph Haydn (Austrian—1732–1809)

Wolfgang Amadeus Mozart (Austrian—1756–1791)

64

Ludwig van Beethoven (German/Austrian—1770–1827)

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266 Part 3 Bringing It All Together

to as the text. In opera, the lyrics are part of the libretto, which may contain both spoken text and words to be sung (see Chapter 11).

When music has words, the active listener is faced with some interesting ques-tions. What is the relationship between the music and text? What options does a composer have for combining these elements? Should music illustrate or mimic the text? Is it possible for music and text to contradict each other intentionally? How might the skillful combination of music and text communicate meaning more effectively than either of these elements alone?

In this chapter, we will see how text and music work together to paint pictures in our mind and arouse emotional responses. We will also see how music can re-spond to the sounds and structure of a text, and how it can even alter our percep-tion of the text’s meaning, perhaps by contradicting what it seems to say. All these techniques were common in the Romantic period, the historical high point of the art song. Therefore, we will concentrate on songs by Romantic composers, while also looking at some music from other periods to explore different ways in which music with text may challenge our expectations.

Fitting Music and Text TogetherSome music is so elaborate that the text is difficult to understand. Yet it is hard to think of a well-known song in which the music doesn’t fit the mood of the text. In many cases, the music also enhances the text in an almost pictorial way, a tech-nique commonly known as text painting or word painting. In Twinkle, Twinkle, Little Star, for example, the phrase “up above the world so high” is set to a tune that begins on a high note before it descends. In Somewhere Over the Rainbow, the large melodic jump at the opening also illustrates the text: the melody immediately ascends far above the note it started on, then arches down and back again in a manner that resembles an inverted rainbow. Songwriters may even turn text painting upside down by having the music move in a direction opposite to that indicated by the text. When Johnny Cash, for example, sings “down, down, down” in Ring of Fire, the notes are rising, whereas the word “higher” is sung with the notes dropping down.

Creating a purposeful connection between music and text is at the heart of many art songs from the Romantic period. As we saw in Chapter 5, an art song is a work from the classical music repertory that is not part of a larger staged work and often provides a musical setting for an existing work of poetry. These pieces typi-cally feature a singer and piano accompaniment, and the accompaniment plays a crucial role in reinforcing and interpreting the text.

Schubert: Winterreise, Der LindenbaumWe have already examined one song in the Winterreise cycle, Der Lindenbaum, as an example of modified strophic form. Its text, like those of the other Winterreise songs, was written by Wilhelm Müller, a minor German poet and contemporary of Schubert. Despite the text’s predictable structure, the music shifts along with Müller’s imagery to create vivid emotions. The text helps us to understand the musical images, and Schubert’s music adds meanings at which the text alone only hints.

Chapter Objectives

Describe the different ways music and text can work together.

Consider what happens when a composer makes the text deliberately hard to understand, or when the music seems to subvert the text.

Distinguish among semantic, phonetic, and syntactic qualities of text, and understand how they may all be reflected in a musical setting.

Indicate how music can suggest meanings that are less evident when one simply reads the words.

Recognize the different voices (personas) from which music texts can be interpreted.

Chronology of Music Discussed in this Chapter

Mid-14th centuryGuillaume de Machaut p. 271Lasse! comment oublieray/Se j’aim mon loyal/Pour quoy me bat mes maris?, motet

1828Franz Schubert p. 266, 280Winterreise: Der Lindenbaum; Die Post; Der Leiermann

1840Robert SchumannDichterliebe: Ich grolle nicht, p. 278; Die alten, bösen Lieder p. 282

1938–1941Luigi Dallapiccola p. 284Canti di prigionia (3 movements).

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33

Chapter

2Medieval, Renaissance, and Baroque MusicTake NoTe

History is a silent but supportive partner in the active listening process. Com-

positions from the Medieval, Renaissance, and Baroque periods lay the back-

ground for what has come to be the standard repertory of classical music.

Although the performance of music always takes place in the present, music also represents the time in which it was created. This makes history another enormously important topic in the understanding of music. Knowing the factors that influence the creation of music—whether cultural, economic, technological, religious, or political—provides another dimension to one’s exploration of music. History is a silent but supportive partner in the active listening process.

Giovanni Pierluigi da Palestrina (ca. 1525–1594)

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62

Chapter

3 Classical and Romantic MusicTake NoTe

Compositions from the Classical and Romantic periods illustrate the major

tendencies of classical music to create aesthetically pleasing and expressive

music. Although the historical period known as Romanticism ended long

ago, it continues to influence the culture and style of our time.

In this chapter we will examine the historical periods in music commonly called Classical and Romantic, which roughly correspond to the late 18th and 19th cen-turies. Works from these periods still form the heart of the repertory performed by most classical musicians. There is also no clear dividing line between them, which is why Beethoven is often considered a part of both periods.

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Focus On boxes draw from Oxford’s own distin-guished Grove Music Online reference site to o� er students concise background informa-tion on composers and other music-related topics. Students who purchase a new copy of Take Note will have access to the entire contents of Grove Music Online within Oxford Music Online.

Across the Arts boxes examine parallels between music and the other arts, allow-ing students to discover what music has in common with poetry, storytelling, painting, architecture, and drama.

65Chapter 3 Classical and Romantic Music

Map 3.1 Composers of the Classical Era.

NorthSea

Bay ofBiscay

AegeanSea

BalticSea

Adriatic Sea

Erasbach

Rohrau

Weimar

SalzburgVienna

AUSTRIA

GERMANY

Musical Elements of the Classical RepertoryWhile Baroque music is often known for its ornamental complexity, Classical music can be disarmingly straightforward, at least on the surface. On closer hearing, all is not always as it seems. Classical forms may be clear and easily followed, but Classical composers delight in surprising the listener. You can expect to hear lots of short-term contrast and change in this music, especially when compared to that of the Baroque. You may hear “flashes” of instrumental color; changes in timbre, or tone color, are one of the ways in which Classical composers like to add interest and complexity to their music. As a piece progresses, a richer timbre may signal an expressive high point. So may a more complex texture or unexpected harmonic changes.

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ErasbacErasbac

101Chapter 4 The Twentieth Century and Beyond: Modernism and Jazz

Focus OnClaude Debussy (1862–1918)French composer. One of the most important musicians of his time, his harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera, Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and color that indicated a highly original musical aesthetic. (François Lesure and Roy Howat, Grove Music Online.)

In 1948, 30 years after the death of Claude Debussy, American composer Virgil Thomson wrote, “Modern music, the full flower of it, the achievement rather than the hope, stems from Debussy. Everybody who wrote before him is just an ancestor and belongs to another time. Debussy belongs to ours.” Thomson’s essential insight still applies today. All great composers have broken rules, but Debussy was one of the few who have been able to reinvent the language of music. Like the Impressionist painters to whom he is often compared, he worked with colors, both instrumental and harmonic, in ways that defied traditional expectations. While his music has become “classical,” it has not lost its edge; it still surprises and delights us.

Claude Debussy (1862–1918). Debussy composed many volumes of colorful and evocative music for piano, as well as ensemble and vocal music. (© adoc-photos/Lebrecht Music & Arts)

Grove Music Online.

Landscape at Vétheuil, c. 1890, by Pierre-Auguste Renoir. This painting by the French impressionist master shows the same experimentation with color effects and blurring of traditional lines that are widely associated with Debussy’s music. (Ailsa Mellon Bruce Collection)

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200 Part 2 Listening Through Musical Elements

Across the ArtsThe Medieval WorldviewThe rhythm of Lasse! comment oublieray/Se j’aim mon loyal/Pour quoy me bat mes maris? is difficult for us to understand, but it made perfect sense to medieval listeners. In the medieval world-view, the universe itself was built in interlocking layers, thought to operate according to musical proportions. If you have trouble perceiving Machaut’s rhythms, consider that the propor-tions of the universe cannot be seen or heard either, at least in ordinary terms. Yet in the me-dieval cosmology they dictate the terms on which life is lived in the visible world.

In this photo, Music is personified in the panels on the left, while the panels on the right illustrate the three levels of the musical universe. On top is musica mundana, better known as the “music of the spheres,” showing that the universe is constructed according to musical proportions. In the middle is musica humana, the “music of human life.” Musica instrumentalis, sounding music, appears only in the bottom panel, and the female figure of Music points at it reprovingly, as though to remind it that it is only a pale imitation of the higher levels.

This view of music was most notably expressed by Boethius (ca. 480–524), the late Roman philosopher who also provided the text for the second movement of Dallapiccola’s Canti di prigionia. Though it was based on ideas from the ancient world, Boethius’s musical worldview helped to define the way the universe was understood for centuries after his death.

This famous illustration shows the medieval view of the world as consisting of three different kinds of music. (© Lebrecht Music and Arts)

Most later music also has multiple rhythmic layers, even if they are not as pre-dictable as Machaut’s. In Dvořák’s Slavonic Dance, for example, the measures are grouped in pairs, and the pairs of measures are grouped in pairs as well, as are the pairs of pairs, resulting in regular phrases (a term used to describe musical thoughts, which are much like phrases in language) of four and eight measures and even regular groups of such phrases. Such large-scale metrical patterns are often called hypermeter, and if you listen carefully, you can hear them in most of

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In History boxes discuss the greater cultural and social contexts of key works in history, compelling students to think beyond the music.

In History boxes discuss the

272 Part 3 Bringing It All Together

In HistorySchubert’s WinterreiseWinterreise (Winter’s Journey), written only months before Schubert’s death in 1828, was the second of his two genuine song cycles. Both it and the earlier Die Schöne Müllerin (The Beautiful Maid of the Mill) deal with unrequited love, one of the favorite subjects of the Romantics. They both consist of settings of a series of poems told from the point of view of a rejected lover and implicitly ending with his death. Winterreise, however, is particularly severe. The lover has already been rejected when the cycle begins, and his love is described only in retrospect. The images in the poetry are unrelentingly somber, and Schubert’s music follows suit.

It is something of a cliché to say that this subject is an expression of the alienation and loneliness so frequently expressed in modern art of all kinds. In fact, similar images of isolation from a beloved occur in the troubadour poetry of the late Middle Ages. These songs can be linked in many ways, however, to their historical moment.

One is their abundance of nature images, including the linden tree with its rustling leaves and the fierce winter wind. In his poems, Müller treats nature as a place to escape the pressures of modern urban life. Readers of English literature often find this theme in the writing of the early Romantics, such as the poetry of William Wordsworth.

Rest as a metaphor for death and release was also a favorite theme of the Romantics. In Ode to a Nightingale, for example, John Keats yearns “to cease upon the midnight with no pain,” much as Schubert’s singer-hero longs to lie down beneath the tree and its sheltering branches.

The idea of the rootless wanderer as a heroic figure is also typical of Schubert’s time; his own

song The Wanderer served as the basis of one of his most famous piano works, the Wanderer Fantasy. German artists such as Caspar David Friedrich (1774–1840) often depicted this figure as well.

So if there is such a thing as the Zeitgeist, or “spirit of the times,” these songs convey it in a particularly poignant and powerful way. Schubert’s music, which does so much to amplify Müller’s texts, is a uniquely suitable vehicle for the outlook of the Romantic period.

Wanderer Above the Sea of Fog, by Caspar David Friedrich (1774–1840). Restlessness, longing, and the power of nature were primary components of the Romantic spirit. (bpk/Berlin, Art Resource, NY)

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Clear and vivid maps help students connect each musical piece and artist with places around the world.

Robust Support Packagewww.oup.com/us/wallace serves as the gateway to everything that you and your students will need for your Music Appreciation course.

A streamlined interface connects instructors and students with the functions that they perform the most and simpli� es the learning experience by pu� ing student progress � rst.

Dashboard for Take NoteStreaming audio, interactive listening guides, musical instrument videos, and a wealth of additional resourc-es for Take Note are available in Dashboard by Oxford University Press. Dashboard delivers quality content, tools, and assessments to track student progress in an intuitive, web-based learning environment.

Interactive Listening Guides and Streaming Audio put students in full control of the listening experience. Interactive listening guides combine a visual representation of key works with running commentary to help students follow along in real time while they listen to the music. Addi-tionally, all of the audio examples discussed in the text are available in streaming audio format.

• Discover View o� ers an overview of the piece, including the basic structure of each section.

• Listen Closely View displays all the information about the piece, including the melodic “shape” for each instrument so that students can follow the music as it unfolds.

Auto-graded assessments allow instructors to easily check students’ progress as they complete their assignments. � e color-coded gradebook illustrates students’ strengths and weaknesses at a glance, allowing instructors to adapt their lectures to student needs.

Actively Listening to Additional Works Special Supplement to Take Note by Robin Wallace

Th is bonus chapter provides supplementary listening activities for Take Note by Robin Wallace. It is only available online from the Take Note companion website. It is provided for those students and instructors who would like to practice active listening skills on additional works. Th is chapter introduces four major works spanning Medieval to Modern music.

TAKE NOTE

Active listening skills can be applied to any musical experience. Draw upon the

fundamental elements of music to appreciate familiar and unfamiliar works.

Take Note Bonus Online Chapter 13, Actively Listening to Additional Works © 2014 Oxford University Press USA

Bonus OnlineChapter

13

W1

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A bonus, online Chapter 13, “Actively Listening to Additional Works,” is available for students who would like to practice active listening skills on additional works.

Access to Dashboard can be packaged with the text at a discount (978-0-19-938588-1), stocked separately by your college bookstore (978-0-19-934282-2), or purchased directly at www.oup.com/us/wallace.

Instrument videos bring individual pieces of the orchestra to life, giving students a closer look at the instruments and actions behind what they hear.

Robust Support PackageOxford Music Online

A free 12-month subscription to Oxford Music Online is included for students with all new copies of this text. Within Oxford Music Online, students will have access to Grove Music Online, the leading online resource for music research with thousands of articles to search or browse. � roughout Take Note, you and your students will � nd reference to speci� c articles in Grove that o� er more in-depth information on the topics covered in the text.

Additional Teaching Tools

Instructor’s Manual, PowerPoint Slides, and Test Bank are available online (www.oup.com/us/wallace) or on CD. Instructors who adopt Take Note will be given an access code allowing them to view the instructor’s manual for the text, which features chapter summaries, teaching strategies, sample test and essay questions, sample in-class and assignable activities, and links to websites featuring related materials. In addition, a downloadable set of PowerPoint® slides is o� ered to accompany in-class lectures or for posting on class websites for student review. An automated test bank, that can be used to create custom exams, is available to adopters. Questions can be edited or rewri� en, and additional questions can be added to the bank.

An ebook is available through CourseSmart©

(www.coursesmart.com)

Visit www.oup.com/us/wallace for links to and additional information on all of these resources for Take Note.