Transparency Masters for Listen, seventh edition

Transparency Masters for Listen, seventh edition Joseph Kerman and Gary Tomlinson CONTENTs No. Title UNIT I: Fundamentals 1 Listening Chart 1: Wagner, Prelude to The Valkyrie 2 Listening Exercise 1: Rhythm, Meter, and Syncopation 3 Listening Exercise 2: Rhythm, Meter, and Tempo 4 Listening Exercise 3: Pitch and Dynamics 5 Orchestral Seating Plan 6 Listening Exercise 4: The Orchestra in Action 7 Diatonic and Chromatic Scales 8 Listening Exercise 5: Melody and Tune 9 Listening Exercise 6: Texture 10 Major and Minor Modes 11 Listening Exercise 7: Mode and Key 12 Listening Exercise 8: Musical Form 13a–b Listening Chart 2: Britten, The Young Person’s Guide to the Orchestra UNIT II: Early Music: An Overview 14 The Medieval Modes 15 Plainchant, “In paradisum” 16 Hildegard of Bingen, “Columba aspexit” 17 Bernart de Ventadorn, “La dousa votz” 18 Pérotin, “Alleluia. Diffusa est gratia” 19 Machaut, “Dame, de qui toute ma joie vient,” first stanza 20 Dufay, “Ave maris stella” 21 Josquin, Pange lingua Mass, Kyrie; from the Gloria 22 Map: Dispersion of the High Renaissance Style 23 Josquin, “Mille regrets” 24 Palestrina, Pope Marcellus Mass, from the Gloria 25 Gabrieli, “O magnum mysterium” 26a–b Monteverdi, The Coronation of Poppea, from Act I 27 Purcell, Dido and Aeneas, Act III, final scene UNIT III: The Eighteenth Century 28 The Basic and Festive Baroque Orchestras 29 Ritornello Form 30 Listening Chart 3: Vivaldi, Violin Concerto in G, first movement 31 Listening Chart 4: Vivaldi, Violin Concerto in G, second movement 32a–b Listening Chart 5: Bach, Brandenburg Concerto No. 5, I 33 Fugue Form Page(s) 5 10 11 13 21 22 28 31 35 36 38 42 45 51 52 53 55 59 61 67 71–72 74 74 76 86 91 94 114 121 122 126 129 132 i 34 Listening Chart 6: Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major 35 Handel, Julius Caesar, “La giustizia” 36 Handel, Messiah, “There were shepherds”; “Glory to God” 37 Handel, Messiah, Hallelujah Chorus 38 Bach, Cantata No. 4, “Christ lag in Todesbanden” (Stanzas 3, 4, and 7) 39 Map: Centrality of Vienna in the Classical Period 40 The Classical Orchestra 41 Sonata Form 42a–c Listening Chart 7: Mozart, Symphony No. 40 in G Minor, first movement 43a–b Listening Chart 8: Haydn, Symphony No. 95 in C Minor, second movement 44 Listening Chart 9: Haydn, Symphony No. 95 in C Minor, third movement 45 Listening Chart 10: Haydn, Symphony No. 95 in C Minor, fourth movement 46 Double-Exposition Form 47a–b Listening Chart 11: Mozart, Piano Concerto No. 23 in A, first movement 48a–c Mozart, Don Giovanni, from Act I, scene iii UNIT IV: The Nineteenth Century 49a–b Listening Chart 12: Beethoven, Symphony No. 5 in C Minor, first movement 50a–c Listening Chart 13: Beethoven, Symphony No. 5 in C Minor, complete work 51 A Typical Romantic Orchestra 52a–b Schubert, “Erlkönig” 53 R. Schumann, Dichterliebe, “Im wunderschönen Monat Mai” 54 R. Schumann, Dichterliebe, “Die alten, bösen Lieder” 55 C. Schumann, “Der Mond kommt still gegangen” 56a–c Listening Chart 14: Berlioz, Fantastic Symphony, fifth movement 57a–c Verdi, Rigoletto, from Act III, scene i 58a–e Wagner, The Valkyrie, Act I, scene i 59a–b Puccini, Madame Butterfly, from Act II, “Un bel dì” 60a–b Listening Chart 15: Tchaikovsky, Overture-Fantasy, Romeo and Juliet 61a–b Listening Chart 16: Brahms, Violin Concerto in D, third movement 62a–b Listening Chart 17: Mahler, Symphony No. 1, third movement, Funeral March UNIT V: The Twentieth Century and Beyond 63 Map: Paris and Vienna as Musical Centers 64a–b Listening Chart 18: Debussy, from Three Nocturnes, Clouds 65a–b Listening Chart 19: Stravinsky, The Rite of Spring, Part I (excerpt) 66a–d Berg, Wozzeck, Act III, scenes iii and iv 67 Listening Chart 20: Ives, Second Orchestral Set, II, “The Rockstrewn Hills Join in the People’s Outdoor Meeting” 68a–b Listening Chart 21: Ravel, Piano Concerto in G, first movement 69a–b Listening Chart 22: Bartók, Music for Strings, Percussion, and Celesta, second movement 70 Listening Chart 23: Prokofiev, Alexander Nevsky Cantata, 5, “The Battle on Ice” 71 Listening Chart 24: Ligeti, Lux aeterna 72 Listening Chart 25: Reich, Music for 18 Musicians (excerpts) 73a–b Saariaho, From the Grammar of Dreams (Songs 1, 3, and 4) 135 144 147 148 152 155 162 169 173 179 182 185 189 191 198–199 218 220 232 241 243 244 248 258 266–267 276–277 280 285 294 299 318 320 324 332–335 338 342 346 353 364 369 372 ii 74a–c Adams, El Niño, “Pues mi Dios ha nacido a penar,” “When Herod Heard,” and 375 “Woe unto Them That Call Evil Good” 75 Navajo song, “K’adnikini’ya’” 64 76 Inca processional music, “Hanaq pachap kusikuynin” 82 77 Japanese gagaku, Etenraku 203 78 Balinese gamelan, Bopong 206 79 Japanese kabuki, Dojoji 301 80 South African popular song, “Anoku Gonda” 409 Copyright © 2012 by Bedford/St. Martin’s ISBN-13 978-0-312-67212-6 ISBN-10 0-312-67212-8 All rights reserved. Manufactured in the United States of America. For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) Instructors who have adopted Listen, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this set of transparency masters for their students. iii Transparency 1 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s LISTENING CHART 1 Wagner, Prelude to The Valkyrie DVD 2 min., 41 sec. 9 0:00 A Scale theme in low strings; crescendo and rise in pitch 0:48 B Preliminary climax: Lightning theme in horns and woodwinds 0:59 A Scale theme, briefly subsiding; then crescendo 1:20 B9 Main climax: Lightning theme, extended, in full brass 1:45 Collapse: Timpani roll; sporadic lightning strikes; diminuendo 2:09 A Scale theme Access Interactive Listening Chart 1 at bedfordstmartins .com/listen Transparency 2 LISTENING EXERCISE 1 Rhythm, Meter, and Syncopation Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St. Martin’s DVD In Unit I of this book, we illustrate the concepts that are introduced with listening examples drawn from the Companion DVD. Follow the timings in these Listening Exercises, which are simplified versions of the Listening Charts provided for complete compositions later in the book. The charts are explained on page xxviii. For samples of duple, triple, and compound meters, listen to the following tracks on the DVD. 10, 14 Duple meter 16 Duple meter 12, 19 Triple meter 17 Compound meter Count one two | one two . . . etc., for about half a minute. Count one two THREE four | one two THREE four . . . etc. Count one two three | one two three . . . etc. Count one two three FOUR five six | one two three FOUR five six . . . etc. 10 Syncopation: In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its steady one two | one two beat in duple meter, while the right hand cuts across it with syncopations in almost every measure. ... - tailieumienphi.vn