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Anthology for Music in Western Civilization, Volume a
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PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. Euripides, ORESTES, Stasimon Chorus" (fragment). Seikilos, Skolion (Epitaph), AS LONG AS YOU LIVE. 3. Music in the Monastery and Convent. Chants of Vespers, TECUM PRINCIPIUM, DIXIT DOMINUS, JESU, REDEMPTOR OMNIUM. Chants of the Mass for Christmas Day, PUER NATUS, KYRIE, GLORIA, VIDERUNT OMNES, ALLELUIA. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. Tuotilo of St. Gall, Trope, HODIE CANTANDUS EST NOBIS. Tuotilo of St. Gall, Trope, OMNIPOTENS GENITOR. Anonymous, DIES IRAE. Hildegard of Bingen, O RUBOR SANGUINIS. Hildegard of Bingen, ORDO VIRTUTUM (excerpts). 6. Troubadours and Trouveres. Beatriz de Dia, A CHANTAR M''ER. Bernart de Ventadorn, CAN VEI LA LAUZETA. Richard the Lionheart, JA NUNS HONS PRIS NE DIRA. 7. Early Polyphony. Anonymous, VIDERUNT HEMANUEL. Albertus of Paris, CONGAUDEANT CATHOLICI. 8. Music in Medieval Paris: Polyphony at Notre Dame. Leoninus, VIDERUNT OMNES. Perotinus, VIDERUNT OMNES. 9. Music in the Cathedral Close and University: Conductus and Motet. Anonymous, ORIENTIS PARTIBUS. Philip the Chancellor, DIC, CHRISTI VERITAS. Anonymous motet, EL MOIS D''AVRIL/ O QUAM SANCTA /ET GAUDEBIT. Anonymous MOTET, ON PAROLE DE BATRE/A PARIS/FRESE NOUVELE. 11. Music at the Court of the French Kings. de Bus, ROMAN DE FAUVEL. Anonymous, QUARE FREMUERUNT GENTES. de Vitry, GARRIT GALLUS/IN NOVA FERT/NEUMA. Anonymous, LA QUINTE ESTAMPIE REAL. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. Machaut, HOQUETUS DAVID. Machaut, JE PUIS TROP BIEN. Machaut, DOUCE DAME JOLIE. Machaut, KYRIE of the MESSE DE NOSTRE DAME. 13. Avignon, Symbolic Scores, and the ARS SUBTILIOR. Cordier, TOUT PAR COMPAS SUY COMPOSES. Caserta, PAR LES BONS GEDEONS. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1450. Bologna, NON AL SUO AMANTE. Landini, OR SU, GENTILI SPIRTI. 15. Music at the Cathedral of Florence. Dufay, NUPER ROSARUM FLORES. 16. Music in England. Anonymous, SUMER IS ICUMEN IN. Anonymous, AGINCOURT CAROL. Dunstaple, QUAM PULCHRA ES. 17. Music at the Court of Burgundy. Binchois, DUEIL ANGOISSEUS. Dufay, LAMENTATIO SANCTAE MATRIS ECCLESIAE CONSTANTINOPOLITANAE. Dufay, KYRIE of the MISSA L''HOMME ARME. 18. Music at the French Royal Court. Ockeghem, PRENEZ SUR MOI. Ockeghem, KYRIE of the MISSA PROLATIONUM. Josquin, GUILLAUME SE VA CHAUFER. Basiron, SALVE REGINA. Busnoys, JE NE PUIS VIVRE AINSY. 19. Music in the Low Countries. Obrecht, CREDO of the MISSA SUB TUUM PRESIDIUM. Isaac, LA SPAGNA. PART III: THE LATE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. de'' Medici, SIAN GALANTI DI VALENZA. Savonarola, GIESU, SOMMO CONFORTO. Josquin, EL GRILLO E BUON CANTORE. Arcadelt, IL BIANCO E DOLCE CIGNO. Vecchi, IL BIANCO ET DOLCE CIGNO. 21. Josquin des Prez and Music in Ferrara. Josquin, SANCTUS of the MISSA HERCULES DUX FERRARIE. Josquin, MISERERE MEI, DEUS. 22. Music in Renaissance Paris. Sermisy, TANT QUE VIVRAY (four arrangements). Anonymous, Pavane and Galliard. 23. Renaissance Instruments and Instrumental Music. Fuenllana, FANTASIA. Merulo, CANZONA. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. Isaac, INNSBRUCK, ICH MUSS DICH LASSEN. Hofhaimer, SALVE REGINA for Organ. Luther, EIN FESTE BURG. Walter/Luther, EIN FESTE BURG, 4-part setting. Lassus, DE PROFUNDIS CLAMAVI. 25. Rome and the Music of the Counter-Reformation. Palestrina, SANCTUS of the MISSA AETERNA CHRISTI MUNERA. Palestrina, TU ES PETRUS. Palestrina, KYRIE of the MISSA TU ES PETRUS. 26. Music in Elizabethan England, Part I: Early Vocal Music. Henry VIII, PASTYME WITH GOOD COMPANYE. Tallis, Psalm 2. Byrd, O LORD, MAKE THY SERVANT, ELIZABETH. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. Morley, GOE FROM MY WINDOW. Weelkes, AS VESTA WAS FROM LATMOS HILL DESCENDING. Dowland, FLOW MY TEARS. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. Gesualdo, MORO, LASSO. Monteverdi, CRUDA AMARILLI."

About the Author

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). 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 forty years has been teaching at Yale University, where he is currently the Henry L. and Lucy G. Moses Professor of Music. At Yale, Wright's courses include his perennially popular introductory course, Listening to Music (also part of the offerings of Open Yale Courses); his large lecture course Exploring the Nature of Genius; and most recently his Coursera course Introduction to Classical Music. He is the author of numerous scholarly books and articles on composers ranging from Leoninus to Bach. Wright has also been the recipient of 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 a member of the American Academy of Arts and Sciences, joining fellow inductee, banjo player Steve Martin. In addition to LISTENING TO MUSIC and LISTENING TO WESTERN MUSIC, EIGHTH EDITION, Wright has also published THE ESSENTIAL LISTENING TO MUSIC, SECOND EDITION; LISTENING TO MUSIC, CHINESE EDITION (Schirmer 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; and MUSIC IN WESTERN CIVILIZATION, MEDIA UPDATE (Schirmer Cengage Learning, 2010), with coauthor Bryan Simms. He is currently at work on a volume titled MOZART'S BRAIN: EXPLORING THE NATURE OF GENIUS.

Reviews

PART I: ANTIQUITY AND THE MIDDLE AGES. 1. Music in Ancient Greece. Euripides, ORESTES, "Stasimon Chorus" (fragment). Seikilos, Skolion (Epitaph), AS LONG AS YOU LIVE. 3. Music in the Monastery and Convent. Chants of Vespers, TECUM PRINCIPIUM, DIXIT DOMINUS, JESU, REDEMPTOR OMNIUM. Chants of the Mass for Christmas Day, PUER NATUS, KYRIE, GLORIA, VIDERUNT OMNES, ALLELUIA. 5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen. Tuotilo of St. Gall, Trope, HODIE CANTANDUS EST NOBIS. Tuotilo of St. Gall, Trope, OMNIPOTENS GENITOR. Anonymous, DIES IRAE. Hildegard of Bingen, O RUBOR SANGUINIS. Hildegard of Bingen, ORDO VIRTUTUM (excerpts). 6. Troubadours and Trouveres. Beatriz de Dia, A CHANTAR M'ER. Bernart de Ventadorn, CAN VEI LA LAUZETA. Richard the Lionheart, JA NUNS HONS PRIS NE DIRA. 7. Early Polyphony. Anonymous, VIDERUNT HEMANUEL. Albertus of Paris, CONGAUDEANT CATHOLICI. 8. Music in Medieval Paris: Polyphony at Notre Dame. Leoninus, VIDERUNT OMNES. Perotinus, VIDERUNT OMNES. 9. Music in the Cathedral Close and University: Conductus and Motet. Anonymous, ORIENTIS PARTIBUS. Philip the Chancellor, DIC, CHRISTI VERITAS. Anonymous motet, EL MOIS D'AVRIL/ O QUAM SANCTA /ET GAUDEBIT. Anonymous MOTET, ON PAROLE DE BATRE/A PARIS/FRESE NOUVELE. 11. Music at the Court of the French Kings. de Bus, ROMAN DE FAUVEL. Anonymous, QUARE FREMUERUNT GENTES. de Vitry, GARRIT GALLUS/IN NOVA FERT/NEUMA. Anonymous, LA QUINTE ESTAMPIE REAL. 12. Fourteenth-Century Music in Reims: Guillaume de Machaut. Machaut, HOQUETUS DAVID. Machaut, JE PUIS TROP BIEN. Machaut, DOUCE DAME JOLIE. Machaut, KYRIE of the MESSE DE NOSTRE DAME. 13. Avignon, Symbolic Scores, and the ARS SUBTILIOR. Cordier, TOUT PAR COMPAS SUY COMPOSES. Caserta, PAR LES BONS GEDEONS. PART II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE. 14. Music in Florence, 1350-1450. Bologna, NON AL SUO AMANTE. Landini, OR SU, GENTILI SPIRTI. 15. Music at the Cathedral of Florence. Dufay, NUPER ROSARUM FLORES. 16. Music in England. Anonymous, SUMER IS ICUMEN IN. Anonymous, AGINCOURT CAROL. Dunstaple, QUAM PULCHRA ES. 17. Music at the Court of Burgundy. Binchois, DUEIL ANGOISSEUS. Dufay, LAMENTATIO SANCTAE MATRIS ECCLESIAE CONSTANTINOPOLITANAE. Dufay, KYRIE of the MISSA L'HOMME ARME. 18. Music at the French Royal Court. Ockeghem, PRENEZ SUR MOI. Ockeghem, KYRIE of the MISSA PROLATIONUM. Josquin, GUILLAUME SE VA CHAUFER. Basiron, SALVE REGINA. Busnoys, JE NE PUIS VIVRE AINSY. 19. Music in the Low Countries. Obrecht, CREDO of the MISSA SUB TUUM PRESIDIUM. Isaac, LA SPAGNA. PART III: THE LATE RENAISSANCE. 20. Popular Music in Florence, 1475-1540: Carnival Song and Lauda, Frottola, and Early Madrigal. de' Medici, SIAN GALANTI DI VALENZA. Savonarola, GIESU, SOMMO CONFORTO. Josquin, EL GRILLO E BUON CANTORE. Arcadelt, IL BIANCO E DOLCE CIGNO. Vecchi, IL BIANCO ET DOLCE CIGNO. 21. Josquin des Prez and Music in Ferrara. Josquin, SANCTUS of the MISSA HERCULES DUX FERRARIE. Josquin, MISERERE MEI, DEUS. 22. Music in Renaissance Paris. Sermisy, TANT QUE VIVRAY (four arrangements). Anonymous, Pavane and Galliard. 23. Renaissance Instruments and Instrumental Music. Fuenllana, FANTASIA. Merulo, CANZONA. 24. Music in Three German Cities: The Protestant-Catholic Confrontation. Isaac, INNSBRUCK, ICH MUSS DICH LASSEN. Hofhaimer, SALVE REGINA for Organ. Luther, EIN FESTE BURG. Walter/Luther, EIN FESTE BURG, 4-part setting. Lassus, DE PROFUNDIS CLAMAVI. 25. Rome and the Music of the Counter-Reformation. Palestrina, SANCTUS of the MISSA AETERNA CHRISTI MUNERA. Palestrina, TU ES PETRUS. Palestrina, KYRIE of the MISSA TU ES PETRUS. 26. Music in Elizabethan England, Part I: Early Vocal Music. Henry VIII, PASTYME WITH GOOD COMPANYE. Tallis, Psalm 2. Byrd, O LORD, MAKE THY SERVANT, ELIZABETH. 27. Music in Elizabethan England, Part II: Instrumental Music and Later Vocal Music. Morley, GOE FROM MY WINDOW. Weelkes, AS VESTA WAS FROM LATMOS HILL DESCENDING. Dowland, FLOW MY TEARS. 28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi. Gesualdo, MORO, LASSO. Monteverdi, CRUDA AMARILLI.

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