music
TEST BANK
The Enjoyment of Music
TWELFTH EDITION, SHORTER
Roger Hickman
CALIFORNIA STATE UNIVERSITY, LONG BEACH
BnW • W • NORTON & COMPANY, INC. • NEW YORK • LONDON
,W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D.
Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Coo-
per Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America
and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade books and college texts—were
firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff
of 400 and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company
stands as the largest and oldest publishing house owned wholly by its employees.
Copyright © 2015, 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc.
All rights reserved
Twelfth Edition, Shorter
Production Manager: Jane Searle
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
wwnorton.com
W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT
,CONTENTS
Part 1 Materials of Music Chapter 15 | Symbols and Puzzles: Machaut and
the Medieval Mind 64
Prelude 1 | Listening to Music Today 1
Chapter 16 | Singing in Friendship: The
Chapter 1 | Melody: Musical Line 4
Renaissance Madrigal 67
Chapter 2 | Rhythm and Meter: Musical Time 8
Chapter 17 | Remember Me: Personalizing the
Chapter 3 | Harmony: Musical Depth 13 Motet in the Renaissance 70
Chapter 4 | The Organization of Musical Sounds 17 Chapter 18 | Glory Be: Music for the Renaissance
Mass 73
Chapter 5 | Musical Texture 23
Chapter 19 | Instrumental Movements: Medieval
Chapter 6 | Musical Form 27
and Renaissance Dance Music 77
Chapter 7 | Musical Expression: Tempo and
Dynamics 31
Part 3 The Baroque Era
Chapter 8 | Music and Words 34
Prelude 3 | Music as Exploration and Drama 80
Chapter 9 | Voices and Instrument Families 37
Chapter 20 | Voicing the Virgin: Cozzolani and
Chapter 10 | Western Musical Instruments 40 Italian Baroque Sacred Music 85
Chapter 11 | Musical Ensembles 46 Chapter 21 | Performing Grief: Purcell and
Chapter 12 | Style and Function of Music Early Opera 88
in Society 50 Chapter 22 | Musical Sermons: Bach and the
Lutheran Cantata 92
Part 2 The Middle Ages Chapter 23 | Textures of Worship: Handel and the
and Renaissance English Oratorio 96
Prelude 2 | Music as Commodity and Social Chapter 24 | Independent Study: Billings and the
Activity 53 North American Sacred Tradition 100
Chapter 13 | Voice and Worship: Tradition and Chapter 25 | Grace and Grandeur: The Baroque
Individuality in Medieval Chant 57 Dance Suite 104
Chapter 14 | Layering Lines: Polyphony at Chapter 26 | Sounding Spring: Vivaldi and the
Notre Dame 61 Baroque Concerto 108
iii
, iv | Contents
Chapter 27 | Process as Meaning: Bach and Chapter 45 | Total Art: Wagner and German
the Fugue 112 Romantic Opera 198
Chapter 46 | Poetry in Motion: Tchaikovsky
Part 4 Eighteenth-Century Classicism and the Ballet 203
Prelude 4 | Music as Order and Logic 116 Chapter 47 | Exotic Allure: Puccini and the Italian
Verismo Tradition 207
Chapter 28 | Musical Conversations: Haydn
and Classical Chamber Music 121 Chapter 48 | Accepting Death: Fauré and
the Requiem 211
Chapter 29 | The Ultimate Instrument: Haydn
and the Symphony 126 Chapter 49 | Mythical Impressions: Program Music
at the End of the Nineteenth Century 214
Chapter 30 | Expanding the Conversation:
Mozart, Chamber Music, and Chapter 50 | Jubilees and Jubilation: The African
Larger Forms 130 American Spiritual Tradition 220
Chapter 31 | Conversation with a Leader: The Chapter 51 | A Good Beat: American Vernacular
Classical Concerto 135 Music at the Close of an Era 224
Chapter 32 | Personalizing the Conversation:
Beethoven and the Classical Sonata 138 Part 6 Twentieth-Century Modernism
Chapter 33 | Disrupting the Conversation: Beethoven Prelude 6 | Making Music Modern 228
and the Symphony in Transition 142 Chapter 52 | Anything Goes: Schoenberg and
Chapter 34 | Making It Real: Mozart and Musical Expressionism 234
Classical Opera 145 Chapter 53 | Calculated Shock: Stravinsky
Chapter 35 | Mourning a Hero: Mozart and and Modernist Multimedia 239
the Requiem 148 Chapter 54 | Still Sacred: Religious Music in
the Twentieth Century 243
Part 5 The Nineteenth Century Chapter 55 | War Is Hell: Berg and Expressionist
Prelude 5 | Music as Passion and Individualism 151 Opera 246
Chapter 36 | Musical Reading: Schubert, Schumann, Chapter 56 | American Intersections: Jazz and
and the Early Romantic Lied 157 Blues Traditions 250
Chapter 37 | Marketing Music: Foster and Early Chapter 57 | Modern America: Still and Musical
“Popular” Song 164 Modernism in the United States 256
Chapter 38 | Dancing at the Keyboard: Chopin and Chapter 58 | Folk Opera? Gershwin and Jazz
Romantic Piano Music 167 as “Art” 259
Chapter 39 | Musical Diaries: Hensel and Chapter 59 | Sounds American: Ives, Copland,
Programmatic Piano Music 172 and Musical Nationalism 263
Chapter 40 | Piano Triumphant: Gottschalk and Chapter 60 | Also American: Revueltas and Mexican
Romantic Virtuosity 175 Musical Modernism 268
Chapter 41 | Personal Soundtracks: Berlioz and Chapter 61 | Classic Rethinking: Bartók and the
the Program Symphony 178 “Neo-Classical” Turn 272
Chapter 42 | Sounding a Nation: Grieg and
Orchestral Nationalism 183 Part 7 Postmodernism:
Chapter 43 | Absolutely Classic: Brahms and the
The Twentieth Century and Beyond
Nineteenth-Century Symphony 188 Prelude 7 | Beyond Modernism? 277
Chapter 44 | Multimedia Hits: Verdi and Italian Chapter 62 | New Sound Palettes: Mid-Twentieth-
Romantic Opera 193 Century American Experimentalists 282
TEST BANK
The Enjoyment of Music
TWELFTH EDITION, SHORTER
Roger Hickman
CALIFORNIA STATE UNIVERSITY, LONG BEACH
BnW • W • NORTON & COMPANY, INC. • NEW YORK • LONDON
,W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D.
Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Coo-
per Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America
and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade books and college texts—were
firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff
of 400 and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company
stands as the largest and oldest publishing house owned wholly by its employees.
Copyright © 2015, 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc.
All rights reserved
Twelfth Edition, Shorter
Production Manager: Jane Searle
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
wwnorton.com
W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT
,CONTENTS
Part 1 Materials of Music Chapter 15 | Symbols and Puzzles: Machaut and
the Medieval Mind 64
Prelude 1 | Listening to Music Today 1
Chapter 16 | Singing in Friendship: The
Chapter 1 | Melody: Musical Line 4
Renaissance Madrigal 67
Chapter 2 | Rhythm and Meter: Musical Time 8
Chapter 17 | Remember Me: Personalizing the
Chapter 3 | Harmony: Musical Depth 13 Motet in the Renaissance 70
Chapter 4 | The Organization of Musical Sounds 17 Chapter 18 | Glory Be: Music for the Renaissance
Mass 73
Chapter 5 | Musical Texture 23
Chapter 19 | Instrumental Movements: Medieval
Chapter 6 | Musical Form 27
and Renaissance Dance Music 77
Chapter 7 | Musical Expression: Tempo and
Dynamics 31
Part 3 The Baroque Era
Chapter 8 | Music and Words 34
Prelude 3 | Music as Exploration and Drama 80
Chapter 9 | Voices and Instrument Families 37
Chapter 20 | Voicing the Virgin: Cozzolani and
Chapter 10 | Western Musical Instruments 40 Italian Baroque Sacred Music 85
Chapter 11 | Musical Ensembles 46 Chapter 21 | Performing Grief: Purcell and
Chapter 12 | Style and Function of Music Early Opera 88
in Society 50 Chapter 22 | Musical Sermons: Bach and the
Lutheran Cantata 92
Part 2 The Middle Ages Chapter 23 | Textures of Worship: Handel and the
and Renaissance English Oratorio 96
Prelude 2 | Music as Commodity and Social Chapter 24 | Independent Study: Billings and the
Activity 53 North American Sacred Tradition 100
Chapter 13 | Voice and Worship: Tradition and Chapter 25 | Grace and Grandeur: The Baroque
Individuality in Medieval Chant 57 Dance Suite 104
Chapter 14 | Layering Lines: Polyphony at Chapter 26 | Sounding Spring: Vivaldi and the
Notre Dame 61 Baroque Concerto 108
iii
, iv | Contents
Chapter 27 | Process as Meaning: Bach and Chapter 45 | Total Art: Wagner and German
the Fugue 112 Romantic Opera 198
Chapter 46 | Poetry in Motion: Tchaikovsky
Part 4 Eighteenth-Century Classicism and the Ballet 203
Prelude 4 | Music as Order and Logic 116 Chapter 47 | Exotic Allure: Puccini and the Italian
Verismo Tradition 207
Chapter 28 | Musical Conversations: Haydn
and Classical Chamber Music 121 Chapter 48 | Accepting Death: Fauré and
the Requiem 211
Chapter 29 | The Ultimate Instrument: Haydn
and the Symphony 126 Chapter 49 | Mythical Impressions: Program Music
at the End of the Nineteenth Century 214
Chapter 30 | Expanding the Conversation:
Mozart, Chamber Music, and Chapter 50 | Jubilees and Jubilation: The African
Larger Forms 130 American Spiritual Tradition 220
Chapter 31 | Conversation with a Leader: The Chapter 51 | A Good Beat: American Vernacular
Classical Concerto 135 Music at the Close of an Era 224
Chapter 32 | Personalizing the Conversation:
Beethoven and the Classical Sonata 138 Part 6 Twentieth-Century Modernism
Chapter 33 | Disrupting the Conversation: Beethoven Prelude 6 | Making Music Modern 228
and the Symphony in Transition 142 Chapter 52 | Anything Goes: Schoenberg and
Chapter 34 | Making It Real: Mozart and Musical Expressionism 234
Classical Opera 145 Chapter 53 | Calculated Shock: Stravinsky
Chapter 35 | Mourning a Hero: Mozart and and Modernist Multimedia 239
the Requiem 148 Chapter 54 | Still Sacred: Religious Music in
the Twentieth Century 243
Part 5 The Nineteenth Century Chapter 55 | War Is Hell: Berg and Expressionist
Prelude 5 | Music as Passion and Individualism 151 Opera 246
Chapter 36 | Musical Reading: Schubert, Schumann, Chapter 56 | American Intersections: Jazz and
and the Early Romantic Lied 157 Blues Traditions 250
Chapter 37 | Marketing Music: Foster and Early Chapter 57 | Modern America: Still and Musical
“Popular” Song 164 Modernism in the United States 256
Chapter 38 | Dancing at the Keyboard: Chopin and Chapter 58 | Folk Opera? Gershwin and Jazz
Romantic Piano Music 167 as “Art” 259
Chapter 39 | Musical Diaries: Hensel and Chapter 59 | Sounds American: Ives, Copland,
Programmatic Piano Music 172 and Musical Nationalism 263
Chapter 40 | Piano Triumphant: Gottschalk and Chapter 60 | Also American: Revueltas and Mexican
Romantic Virtuosity 175 Musical Modernism 268
Chapter 41 | Personal Soundtracks: Berlioz and Chapter 61 | Classic Rethinking: Bartók and the
the Program Symphony 178 “Neo-Classical” Turn 272
Chapter 42 | Sounding a Nation: Grieg and
Orchestral Nationalism 183 Part 7 Postmodernism:
Chapter 43 | Absolutely Classic: Brahms and the
The Twentieth Century and Beyond
Nineteenth-Century Symphony 188 Prelude 7 | Beyond Modernism? 277
Chapter 44 | Multimedia Hits: Verdi and Italian Chapter 62 | New Sound Palettes: Mid-Twentieth-
Romantic Opera 193 Century American Experimentalists 282
