Table of Contents

• PART I: THE MIDDLE AGES
• 1. Hildegard von Bingen, Play of Virtues (excerpt)
• 2. San Ildefonso Indians of New Mexico, Eagle Dance
• 3. Plainchant Alleluia, “Caro mea”
• 4. Francesco Landini, “Behold, Spring”
• 5. Guillaume de Machaut, “No More than One Man Could Count the Stars”
• 6. Alfonso el Sabio, Songs to the Virgin Mary, no. 147, “The Talking Sheep”
• PART II: THE RENAISSANCE
• 7. Josquin des Prez, “The Cricket”
• 8. Thomas Weelkes, “Since Robin Hood”
• 9. William Byrd, “Sing Joyfully”
• 10. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, “Gloria”
• 11. Rhyming Singers of the Bahamas, “My Lord Help Me to Pray”
• 12. Tielman Susato, Moorish Dance
• PART III: THE BAROQUE ERA
• 13. Claudio Monteverdi, Orpheus, selection from Act II
• 14. Henry Purcell, Dido and Aeneas, selections
• 15. Mbuti Pygmies, “Marriage Celebration Song”
• 16. Barbara Strozzi, “Revenge”
• 17. Antonio Vivaldi, The Four Seasons, “Winter,” first movement
• 18. Johann Sebastian Bach, Fugue in G Minor, BWV 578 (“Little” Fugue)
• 19. Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, finale
• 20. Johann Sebastian Bach, Cantata 140: Awake, a Voice Calls to Us, selections
• 21. George Frideric Handel, Messiah, selections
• PART IV: THE CLASSICAL ERA
• 22. Joseph Haydn, String Quartet in C Major, op. 76, no. 3, second movement
• 23. Master Musicians of the Ikuta-ryu, Cherry Blossom
• 24. Joseph Haydn, Symphony no. 102 in B-flat Major, third and fourth movements
• 25. Wolfgang Amadeus Mozart, Symphony no. 40 in G Minor, K. 550, first movement
• 26. Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488, first movement
• 27. Wolfgang Amadeus Mozart, The Marriage of Figaro, Act I, “Cosa sento”
• 28. Jingju, “The Reunion”
• 29. William Billings, “Chester”
• PART V: THE NINETEENTH CENTURY
• 30. Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67
• 31. Franz Schubert, “Erlkönig,” D. 328
• 32. Felix Mendelssohn, Overture to A Midsummer Night’s Dream
• 33. Hector Berlioz, Symphonie fantastique, fourth movement (“March to the Scaffold”)
• 34. Fanny Mendelssohn Hensel, Piano Trio in D Minor, op. 11, third movement (“Song”)
• 35. Robert Schumann, “Dedication”
• 36. Clara Wieck Schumann, “Forward!”
• 37. Frédéric Chopin, Mazurka in B-flat Major, op. 7, no. 1
• 38. Louis Moreau Gottschalk, Union: Concert Paraphrase on National Airs
• 39. Ravi Shankar, Raga Sindhi-Bhairavi
• 40. Giuseppe Verdi, La Traviata, Act I, selection (“Follie!”)
• 41. Richard Wagner, The Valkyrie, Act III, selection (“Wotan’s Farewell”)
• 42. Peter Ilyich Tchaikovsky, Swan Lake, Act IV, finale
• 43. Johannes Brahms, Symphony no. 4 in E Minor, op. 98, finale
• 44. Antonín DvoYák, String Quartet in F Major, op. 96 (“American”), third movement
• PART VI: SINCE 1900
• 45. Claude Debussy, Voiles
• 46. Charles Ives, The Unanswered Question
• 47. Arnold Schoenberg, “Columbine” from Pierrot lunaire
• 48. Igor Stravinsky, The Rite of Spring, Part One
• 49. Scott Joplin, Maple Leaf Rag
• 50. Robert Johnson, “Terraplane Blues”
• 51. Duke Ellington, “Cotton Tail”
• 52. Charlie Parker, “Ornithology”
• 53. Ruth Crawford, Piano Study in Mixed Accents
• 54. Germaine Tailleferre, Concertino for Harp and Orchestra, finale
• 55. William Grant Still, “A Black Pierrot” from Songs of Separation
• 56. Aaron Copland, “Hoe-Down” from Rodeo
• 57. Béla Bartók, Concerto for Orchestra, second movement (“Game of Pairs”)
• 58. Leonard Bernstein, “Tonight” from West Side Story
• 59. John Cage, Sonata II from Sonatas and Interludes
• 60. Gamelan Gong Kebyar of Belaluan, Bali, Kebyar Ding III, “Oncang-oncangan”
• 61. Philip Glass, “Knee Play 1” from Einstein on the Beach
• 62. Mahalia Jackson, “It Don’t Cost Very Much”
• 63. Tania León, A la Par, second movement (“Guaguancó”)
• 64. Corey Dargel, “On This Date Every Year”
• 65. Austin Wintory, “Nascence,” from Journey
  
  

About the Author

Mark Evan Bonds is the Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina at Chapel Hill, where he has taught since 1992. He holds degrees from Duke University (B.A.), Christian-Albrechts-Universit™t Kiel (M.A.) and Harvard University (Ph.D.). His books include Wordless Rhetoric: Musical Form and the Metaphor of the Oration (1991), After Beethoven: Imperatives of Symphonic Originality (1996), Music as Thought: Listening to the Symphony in the Age of Beethoven (2006), and Absolute Music: The History of an Idea (2014). He is the author of numerous essays on the music of Haydn and Mozart, on the nineteenth-century symphony, and on the aesthetics and philosophy of music. He has received grants from the National Endowment for the Humanities, the American Council of Learned Societies, and the William N. Reynolds Foundation. The fourth edition of his History of Music in Western Culture, a textbook for undergraduate music history survey courses, was published by Pearson in 2013. The new fourth edition of Listen to This reflects his experience and dedication to teaching music appreciation to undergraduates for more than 20 years.