Description
Music in the Western World 2nd Edition by Piero Weiss, ISBN-13: 978-0534585990
[PDF eBook eTextbook]
- Publisher: Cengage Learning; 2nd edition (May 7, 2007)
- Language: English
- 624 pages
- ISBN-10: 053458599X
- ISBN-13: 978-0534585990
THIS BOOK HAS GROWN out of our many years’ experience teaching both the introductory music course designed for nonspecialist students and the music history course offered over several semesters in connection with the major in music. We missed having a single book that would impart to our students the countless fascinating insights that come from reading original historical documents such as letters, memoirs, essays, and reports of all kinds—in short, the reactions of contemporaries to the music we were studying in class. There was, of course, Strunk’s Source Readings in Music History, but that excellent book was never meant for the level of studies we are speaking of here. As for the standard, expository textbooks, they did not (indeed could not) devote much space to original source material.
And so we assembled this collection of documents. We assumed, for our modus operandi, no previous knowledge of music on the part of the student. This automatically ruled out readings dependent on a knowledge of musical notation and guided us when we came to write the paragraphs that introduce the readings. Another guiding principle was the assumption that our readers would not necessarily follow us from first page to last; wishing, on the contrary, to make the material as accessible as possible and amenable to a variety of approaches, we wrote each introductory paragraph as if our prospective readers were going to land on it out of the blue, so that, in effect, each reading may be regarded as self-contained. But we have carried neither principle— assumption of no previous knowledge, independence of each selection—to extremes, since that would have involved compulsively defining and identifying every single thing and person, however insignificant. Instead we have resorted to frequent cross-references; if occasionally we have allowed certain terms or names to pass without explanation, it is because we did not feel they were of central concern. A glossary at the end of the book brings together the more obscure technical terms occurring in the body of the text.
The source of each selection has been fully noted, either at the foot of that selection or, when more practical, after the group of which it forms a part. Because of the variety of sources and the diversity of authors, the pieces collected here show, naturally, variety and diversity of writing and editorial styles. Beyond basic typography, no attempt has been made to impose any artificial consistency of style on this collection. Many of the texts have been abridged, and we are sure that, given the purpose of our book, this requires no apology. Some may question our decision to dispense with the customary points of omission. But scholars, we reasoned, could always go back to the originals with the aid of our very precise references; the readers for whom our work is primarily intended would only have found a profusion of little dots a hindrance to their concentration. In all other respects, we have striven for the greatest accuracy; where existing translations proved unsatisfactory we amended them or produced new ones ourselves (identifiable by our initials at the end of the source reference).
We have used the book, in its typescript form, and are pleased with its effect. In the introductory course it has helped to humanize our subject. Students inclined to turn a deaf ear to “classical” music because of its remoteness (because they view it as old, artificial, and an upper-class symbol) have unbended upon reading of the very human circumstances that gave it birth, of the passions it has elicited, the needs it has filled. Tout comprendre c’est tout pardonner has worked in our favor: prejudices have crumbled, leaving a path open to new musical impressions. In that sense ours has been a textbook of an unorthodox kind, for it has lent depth to the experience of music in our classroom without addressing its technicalities. The latter we have administered in person; other teachers, no doubt, may prefer to avail themselves of the existing textbooks for that purpose.
In the history courses offered for the major in music, our typescript was only one of several teaching tools. We expect students at this level to spend as much time with scores as with books, and as much time with the standard history texts as with these sources. But exposure to the latter has proved an invaluable and enlivening factor in their experience of the music and thus an essential element in their education. The range of our book, both chronological and topical, closely matches that of most history sequences, so that it makes an effective ancillary text through several semesters of work.
Non-matriculated students, finally—and by this we mean music lovers at large, unconfined by classrooms and teachers—are more than welcome to sample our book. We think they will enjoy it. We have done our best not to give it the grim look of a college text, preferring, on this occasion, a touch of Yeats’s Tom O’Roughley, who held that “wisdom is a butterfly/And not a gloomy bird of prey.”
Table of Contents:
Part I: THE HERITAGE OF ANTIQUITY.
1. Orpheus and the Magical Powers of Music (Ovid).
2. Pythagoras and the Numerical Properties of Music (Nicomachus).
3. Plato’s Musical Idealism.
4. Aristotle on the Purposes of Music.
5. The Kinship of Music and Rhetoric (Quintilian).
6. Music in Temple and Synagogue: The Judaic Heritage (Bible, Philo of Alexandria).
7. Music in the Christian Churches of Jerusalem, c. A.D. 400 (Egeria). Part II: THE MIDDLE AGES.
8. The Church Fathers on Psalmody and on the Dangers of Unholy Music (St. Basil, St. John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun).
9. The Testimony of St. Augustine.
10. The Transmission of the Classical Legacy (Boethius, Shakespeare).
11. Music as a Liberal Art (Scholia enchiriadis).
12. Before Notation (Isidore of Seville, St. Augustine, John the Deacon, Notker Balbulus, Costumal of St. Benigne).
13. Embellishing the Liturgy (Notker Balbulus, Ethelwold).
14. Musical Notation and Its Consequences (Odo of Cluny, Guido of Arezzo, Chaucer).
15. Music in Courtly Life (Raimbaut de Vaqueiras, Roman de la rose).
16. The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Prüm, Giraldus Cambrensis, Anon. IV, John of Salisbury).
17. The Forms and Practices of Music, c. 1300 (Johannes de Grocheo, Aegidius of Murino).
18. The First Musical Avant Garde (Jean de Muris, Jacobus of Liège, John XXII, motet and madrigal texts).
19. The Life of Francesco Landini (Filippo Villani).
20. A Letter from Guillaume de Machaut. Part III: THE RENAISSANCE.
21. The “Fount and Origin” (Martin Le Franc, Tinctoris).
22. Music at Church and State Festivities in the Early Renaissance (Manetti, d’Escouchy).
23. The Triumph of Emperor Maximilian.
24. Music as a Business (Petrucci, Francis I, Tallis and Byrd).
25. Music in Castiglione’s Courtier.
26. Josquin des Prez in the Eyes of His Contemporaries (Glareanus, “Gian,” Coclico, Luther).
27. Luther and Music (Luther, Walther, parody texts).
28. The Swiss Reformers (Calvin).
29. The Reformation in England (cathedral injunctions, John Bull).
30. High Renaissance Style (Aron, Zarlino).
31. Willaert the Reformer (Zarlino, Stocker).
32. Music at a Medici Wedding (Giunti).
33. Lasso and Palestrina as Revealed in Their Letters.
34. The Life of the Church Musician (Constitutiones Capellae Pontificae, Zarlino, etc.).
35. The Genres of Music in the High Renaissance (Morley, Cerone, Vicentino).
36. The Counter Reformation (Bishop Franco, Council of Trent, Palestrina, Animuccia, Ruffo, Gregory XIII, Coryat).
37. Palestrina: Fact and Legend (Agazzari, Cresollio, Guidiccioni, Baini, Palestrina).
38. Madrigals and Madrigalism (Mazzone, Zarlino Morely).
39. Gesualdo, Nobleman Musician (Fontanelli).
40. The Most Musical Court in Europe (Bottrigari, Guistiniani).
41. Music and Dancing as Social Graces (anonymous conversation book, Arbeau, Byrd, Morely, Shakespeare).
42. Renaissance Instrumentalists (Tinctoris, Ventemille, cathedral and municipal documents).
43. Radical Humanism: The End of the Renaissance (Vicentino, Mersenne, Le Jeune, Galilei). Part IV: THE BAROQUE.
44. The Birth of a “New Music” (Caccini).
45. The “Second Practice” (Artusi, Monteverdi).
46. The Earliest Operas (Gagliano, Striggio).
47. Basso Continuo and Figured Bass (Agazzari, Banchieri).
48. From the Letters of Monteverdi.
49. Venice,
1637: Opera Opens for Business (Ivanovich).
50. Schütz Recounts His Career.
51. The Doctrine of Figures (Bernhard).
52. Music and Scientific Empiricism (Milton, Bacon).
53. Music in the Churches of Rome, 1639 (Maugars).
54. Music under the Sun King (Pierre Rameau).
55. Rationalistic Distaste for Opera (Corneille, Saint Évremond, La Bruyère).
56. A New Sound Ideal (Mersenne, La Blanc).
57. The Baroque Sonata (North, Purcell, Couperin).
58. Modern Concert Life is Born (North).
59. The Mature Baroque: The Doctrine of the Affections (Descartes, Mattheson).
60. The Art of Music Reduced to Rational Principles (J. P. Rameau).
61. The Earliest Musical Conservatories (Burney).
62. Castrato Singers (Burney).
63. The Conventions of the Opera Seria (Goldoni).
64. Opera Audiences in Eighteenth Century Italy (Sharp).
65. Domenico Scarlatti at the Harpsichord (Burney).
66. A Traveler’s Impressions of Vivaldi (Uffenbach).
67. Couperin on His Pièces de Clavecin.
68. The Piano Is Invented (Maffei).
69. Addison and Steele Poke Fun at Handel’s First London Opera.
70. Some Contemporary Documents Relating to Handel’s Oratorios.
71. Bach’s Duties and Obligations at Leipzig.
72. Bach Remembered by His Son.
73. Bach’s Obituary (C. P. E. Back, Agricola). Part V: THE PRE CLASSICAL PERIOD.
74. The Cult of the Natural (Heinichen, Scheibe).
75. The Advice and Opinions of an Italian Singing Master (Tosi).
76. From Geminiani’s Violin Tutor.
77. From Quantz’s Treatise on Flute Playing.
78. Carl Philipp Emanuel Bach on Playing Keyboard Instruments.
79. The Rise of the Italian Comic Opera Style (La serva padrona, d’Holbach, Hiller).
80. From Rousseau’s Dictionary of Music. Part VI: THE CLASSICAL PERIOD.
81. A Side Trip into Aesthetics (Rousseau, Avison, Beattie, Twining, Smith, Kant).
82. Haydn’s Duties in the Service of Prince Esterházy.
83. Gluck’s Operatic Manifesto.
84. “Folk Song” a New Name for Something Very Old (Herder).
85. Some General Thoughts on Music by Dr. Burney.
86. Frederick the Great Gives a Concert (Burney).
87. The Young Mozart as a Scientific Curiosity (Barrington).
88. From Mozart’s Letters.
89. Haydn’s Reception in London (Burney, London dailies).
90. Sonata Form and the Symphony Described by a Contemporary of Haydn (Kollmann).
91. A Musical Episode of the French Revolution.
92. Vienna,
1800.
93. Beethoven’s Heiligenstadt Testament.
94. The First Reactions to Beethoven’s “Eroica” Symphony.
95. A Contemporary Portrait of Beethoven.
96. The First Performance of Beethoven’s Ninth Symphony. Part VII: THE LATER NINETEENTH CENTURY: ROMANTICISM AND OTHER PREOCCUPATIONS.
97. Music as a Proper Occupation for the British Female (Burgh).
98. Leigh Hunt on Rossini.
99. Schubert Remembered by a Friend (Spaun).
100. Paganini, the Spectacular Virtuoso (Hunt).
101. The Virtuoso Conductor (Spohr).
102. The State of Music in Italy in
1830.
103. From the Writings of Berlioz.
104. The Program of the Symphonie Fantastique.
105. From the Writings of Schumann.
106. Liszt, the All Conquering Pianist.
107. From the Writings of Liszt.
108. Glimpses of Chopin Composing, Playing the Piano. (Sand, Mikuli. Hogarth, Heine).
109. Mendelssohn and Queen Victoria.
110. Verdi’s Rise to Solitary Eminence (Basevi).
111. From the Writings of Wagner.
112. Wagner’s Beethoven.
113. The “Music of the Future” Controversy (Schumann, Mendelssohn, Liszt, Brendel, Brahms).
114. P.T. Barnum Brings the Swedish Nightingale to America.
115. Smetana and the Czech National Style (Novotný).
116. The “New Russian School” (Stasov).
117. Musorgsky, a Musical Realist.
118. Chaikovsky on Inspiration and Self Expression.
119. Brahms on Composing (Henschel).
120. The “Brahmin” Point of View (Hanslick).
121. Verdi at the Time of Otello.
122. Grieg on the Norwegian Element in His Music.
123. The Post Wagnerians: Mahler.
124. The Post Wagnerians: Richard Strauss. Part VIII: THE TWENTIETH CENTURY.
125. Debussy and Musical Impressionism.
126. Questioning Basic Assumptions (Busoni).
127. From the Writings of Charles Ives.
128. Musical Expressionism (Schoenberg, Wellesz, et al.).
129. The Retreat to the Ivory Tower (Berg).
130. The Death of Tonality? (Webern).
131. Arnold Schoenberg on Composition with Twelve Tones.
132. The Rite of Spring (Stravinsky, Van Vechten, Cui, Du Mas).
133. A Futurist Manifesto (Russolo).
134. The New Folklorism (Bartok, Stravinsky, Vaughan Williams).
135. The Cataclysm (Bartok).
136. Between the Wars (Sessions).
137. The New Objectivity (Stravinsky).
138. Anti Romantic Polemics from Stravinsky’s Autobiography.
139. Schoenberg on Stravinsky, Stravinsky on Schoenberg.
140. The Cult of Blague: Satie and “The Six” (Satie, Collet, Milhaud).
141. Polytonality (Milhaud).
142. The Only Twentieth Century Aesthetic? (Thomson).
143. The Making of Wozzeck (Berg).
144. Approaching the Limits of Compression (Schoenberg, Webern).
145. The Assimilation of Jazz (Gershwin, Ravel).
146. “New Musical Resources” (Cowell).
147. Retrenchment (Hindemith).
148. Music and the Social Conscience (Weill, Hindemith, Copland).
149. Music and Ideology (Russian Association of Proletarian Musicians).
150. Composers on Trial (Shostakovich, Prokofiev).
151. Music Under and After the Nazis (“Entartete Musik” Exhibition, three readings on Carl Orff).
152. The Outlook after World War II (Thomson).
153. New Developments in Serialism (Boulez, Adorno, Krenek, Babbitt, Wuorinen).
154. Stravinsky the Serialist.
155. Postwar Compositional “Issues” (Sessions).
156. Music and the Cold War ( Nabokov, Ligeti,).
157. Music and the “New Left” (Fluxus Group, Cardew, Henze).
158. The Master of “Organized Sound” (Varèse).
159. The Music of Chance (Cage).
160. New Approaches to the Organization of Time (Carter).
161. Composer and Society (Britten, Babbitt, Rochberg). Part IX: THE RECENT PAST, AND THE PRESENT.
162. Defection (Ned Rorem on the Beatles).
163. “Minimalism” (Reich, R. Wilson, Glass).
164. Fusion (Harrison).
165. New Eclecticism (Schnittke).
166. New Romanticism ( Druckman, Del Tredici, Kriesberg).
167. Technological Revolution (Mathews, Lansky).
168. Postmodernist paradigms (S. Johnson, Lerdahl, Boros).
169. Feminist Perspectives (Oliveros, Broido and Oteri, Monk,, McClary).
170. New topicality (Adams, Corigliano).
171. Millennium’s end (Ferneyhough, Gann, Monk, Slobin).
172. A Glimpse of the Future? (Tommasini).
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