Synopses & Reviews
The Rodin/Wright/Simms anthologies are intended for the music history course, which is taught over a period of two to four semesters and is required of all undergraduate music majors. The course typically covers all major movements and composers within a context of European political, social, and cultural history. Anthologies may be assigned for use with a textbook or independently.
Review
"While many of our incoming graduate students tend to be adept at identifying styles and composers in listening exams, they tend to freeze up when a score is put in front of them. . . . The anthology goes a long way toward helping to address this general shortcoming in the training of undergraduate music majors."
Synopsis
The perfect companion to MUSIC IN WESTERN CIVILIZATION! With an introduction to, a score for, and lyrics and translation for each piece, ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION, VOLUME II:THE ENLIGHTENMENT TO THE PRESENT enhances your understanding of the major European styles, genres, and composers.
Synopsis
'Prepared by Timothy Roden of Ohio Wesleyan University, the anthologies offer invaluable insight, providing an introduction to, a score for, and--where applicable--lyrics and translation for each piece discussed in the text and included in the CD set.'
Synopsis
A great way to gain an in-depth understanding of Western music history, ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION, Media Update, Volumes I and II, include an introduction to and a score for 224 pieces of music representing all the major European styles, genres, and composers. The anthologies are an excellent companion to Wright and Simms?s MUSIC IN WESTERN CIVILIZATION.
About the Author
Timothy J. Roden (Bachelor of Music, Houghton College, 1980; Ph.D., Northwestern University, 1992) teaches music history, world music, survey of music literature, and music appreciation at Ohio Wesleyan University. He received grants from Northwestern University and the Deutscher Akademischer Austauschdienst that allowed him to complete research in Berlin, Germany, on German orchestral lieder. He has contributed an article on Schumann's lieder to the NATS Journal, is preparing an edition of orchestral lieder for a scholarly press, and has prepared ancillaries to accompany Wright's LISTENING TO MUSIC (Thomson-Schirmer). Craig M. Wright received his Bachelor of Music degree at the Eastman School of Music in 1966 and his Ph.D. in musicology from Harvard University in 1972. He began his teaching career at the University of Kentucky and for the past 40 years has been teaching at Yale University, where he is the Henry L. and Lucy G. Moses Professor of Music as well as Director of Online Education. He teaches his perennially popular introductory course "Listening to Music", also part of the offerings of Open Yale Courses, and his selective seminar "Exploring the Nature of Genius". The author of numerous scholarly books and articles on composers ranging from Leoninus to Bach, Dr. Wright has also received many awards, including a Guggenheim Fellowship, the Einstein and Kinkeldey Awards of the American Musicological Society, and the Dent Medal of the International Musicological Society. In 2004 he was awarded the honorary degree Doctor of Humane Letters from the University of Chicago, and in 2010 he was elected as a member of the American Academy of Arts and Sciences, joining fellow inductee banjo player Steve Martin. Dr. Wright has also published LISTENING TO MUSIC, CHINESE EDITION (Cengage Learning/Three Union Press, 2012), translated and simplified by Profs. Li Xiujung (China Conservatory, Beijing) and Yu Zhigang (Central Conservatory, Beijing), both of whom worked with Wright at Yale; LISTENING TO MUSIC and LISTENING TO WESTERN MUSIC, Seventh Editions (Cengage Learning, 2015); and MUSIC IN WESTERN CIVILIZATION, MEDIA UPDATE (Cengage Learning, 2010) with coauthor Bryan Simms. He is presently at work on a volume titled MOZART'S BRAIN: EXPLORING THE NATURE OF GENIUS. Bryan R. Simms (Bachelor of Arts, Yale University, 1966; Ph.D., Yale University, 1971) has taught since 1976 at the University of Southern California, where he has been director of graduate studies and is currently chair of the department of musicology. He is the recipient of fellowships from the National Endowment for the Humanities and the Fulbright Foundation. He is the author of books and articles on topics in twentieth-century music and music theory, including MUSIC OF THE TWENTIETH CENTURY (Schirmer 1996) and, most recently, THE ATONAL MUSIC OF ARNOLD SCHOENBERG, 1908-1923 (Oxford University Press).
Table of Contents
Part V: THE ENLIGHTENMENT AND THE CLASSICAL ERA. 41. Music in the Age of Enlightenment: Opera. 42. Music in the Age of Enlightenment: Orchestral Music. 43. Music in the Age of Enlightenment: Keyboard Music. 44. Classical Music in Vienna. 45. Joseph Haydn: Instrumental Music. 46. Joseph Haydn: Late Symphonies and Vocal Music. 47. Wolfgang Amadeus Mozart: Instrumental Music. 48. Wolfgang Amadeus Mozart: Vocal Music. 49. The Early Music of Beethoven. 50. Beethovens Middle Period: 1802-1814. 51. After the Congress of Vienna: Beethovens Late Music. Part VI: ROMANTICISM. Musical Interlude 7: Romanticism. 52. Franz Schubert. 53. Music in Paris Under Louis Philippe: Berlioz and Chopin. 54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns. 55. German Opera in the Nineteenth Century: Weber and Wagner. 56. Opera in Italy: Rossini and Verdi. 57. Nationalism and Virtuosity: Franz Liszt. 58. Vienna in the Late Nineteenth Century: Brahms and Bruckner. 59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky. 60. Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler. 61. England at the End of the Romantic Period: Elgar and Vaughan Williams. 62. Opera in Milan After Verdi: Puccini, Toscanini, and Verismo. 63. Paris of the Belle Epoque: Debussy, Faure, and Lili Boulanger. Part VII: THE EARLY TWENTIETH CENTURY. Musical Interlude 8: Music Since 1900. 64. Richard Strauss in Berlin. 65. Music in Russian During the Silver