Exam (elaborations) TEST BANK FOR The Enjoyment of Music 11th Edition By Forney and Machlis (Prepared By Alicia M. Doyle)

Exam (elaborations) TEST BANK FOR The Enjoyment of Music 11th Edition By Forney and Machlis (Prepared By Alicia M. Doyle) The Enjoyment of Music ELEVENTH EDITION Alicia M. Doyle CALIFORNIA STATE UNIVERSITY, LONG BEACH B W • W • NORTON & COMPANY • NEW YORK • LONDON INSTRUCTOR’S RESOURCE MANUAL EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page iii v CONTENTS Chapter 1 | Introduction 1 Chapter 2 | Goals and Content 2 Chapter 3 | Approaches to Teaching 3 Historical/Chronological Approach 3 Biographical, or Great Composer, Approach 3 Listening Approach 4 Analysis Approach 4 Development of Styles Approach 4 Genre Approach 5 Multicultural Approach 5 Gender Equity Approach 5 Chapter 4 | Teaching Materials Available 6 Chapter 5 | The Course Plan 10 Chapter 6 | Planning an Exam Schedule 11 Chapter 7 | Other Assessments of Competence 15 Quizzes on Specialized Topics 15 Concert Reports 15 Special Activities and Listening Assignments 15 Chapter 8 | The Course Syllabus 17 Chapter 9 | Teaching Guide 19 Part 1: Materials of Music 20 Prelude 1: Listening to Music Today 20 Chapter 1: Melody: Musical Line 20 Chapter 2: Rhythm and Meter: Musical Time 22 Chapter 3: Harmony 23 Chapter 4: The Organization of Musical Sounds 24 Chapter 5: Musical Texture 26 EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page v vi | Contents Chapter 6: Form 27 Chapter 7: Musical Expression: Tempo and Dynamics 28 Chapter 8: Voices and Musical Instrument Families 29 Chapter 9: Western Musical Instruments 31 Chapter 10: Musical Ensembles 34 Chapter 11: Style and Function of Music in Society 36 Part 2: Medieval and Renaissance Music 38 Prelude 2: The Culture of the Middle Ages and Renaissance 38 Chapter 12: Sacred Music in the Middle Ages 39 Chapter 13: Secular Music in the Middle Ages 40 Chapter 14: Renaissance Sacred Music 41 Chapter 15: Renaissance Secular Music 42 Part 3: The Baroque Era 44 Prelude 3: The Baroque Spirit 44 Chapter 16: Baroque Opera and Its Components 45 Chapter 17: The Baroque Cantata and Oratorio 47 Chapter 18: Baroque Instruments and the Suite 48 Chapter 19: The Baroque Concerto 49 Chapter 20: Other Baroque Instrumental Music 49 Part 4: Eighteenth-Century Classicism 51 Prelude 4: Classicism in the Arts 51 Chapter 21: The Development of Classical Forms 52 Chapter 22: Classical Chamber Music 53 Chapter 23: The Classical Symphony 55 Chapter 24: The Classical Concerto 58 Chapter 25: The Sonata in the Classical Era 59 Chapter 26: Classical Choral Music and Opera 60 Part 5: The Nineteenth Century 62 Prelude 5: The Spirit of Romanticism 62 Chapter 27: Song in the Romantic Era 63 Chapter 28: Romantic Piano Music 65 Chapter 29: Music in Nineteenth-Century America 67 Chapter 30: Romantic Piano Music 68 Chapter 31: Absolute Music in the Nineteenth Century 71 Chapter 32: National Schools of Romantic Opera 73 Chapter 33: Late Romantic and Post-Romantic Music 76 Part 6: Impressionism and the Early Twentieth Century 79 Prelude 6: Modernism in the Arts 79 Chapter 34: Impressionism and Post-Impressionism 79 Chapter 35: Early Modern Musical Style 81 Chapter 36: Music of the Early Modernists 82 Chapter 37: European National Schools 85 Chapter 38: American Modernism in Music 87 Chapter 39: Nationalism in the Americas 89 EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page vi Contents | vii Part 7: Music beyond the Concert Hall 91 Prelude 7: The Rise of American Popular Styles 91 Chapter 40: Ragtime, Blues, and Jazz 92 Chapter 41: Musical Theater 94 Chapter 42: Music for Films 95 Chapter 43: The Many Voices of Rock 97 Part 8: World War II and Beyond 99 Prelude 8: New Directions in the Arts 99 Chapter 44: The New Virtuosity in the Modern Age 100 Chapter 45: Contemporary Composers Look to World Music 101 Chapter 46: Technology and Music 104 Chapter 47: Some Current Trends 105 Chapter 10 | General Resource Guide 108 Women and Music 108 Multicultural Music Guide 110 East Asia/Japan 111 East Asia/China 112 South Asia/India 112 Southeast Asia/Indonesia 113 Middle East/Turkey 114 Africa/Sub-Saharan Africa 114 Eastern Europe/Russia 115 Eastern Europe/Hungary/Romania/Bulgaria 116 Eastern Europe/Jewish Culture 116 Eastern Europe/Roma Culture 117 Western Europe/Spain 117 Americas/African American 117 Americas/British-American Traditional Music 118 Americas/Latin American 119 Americas/Native American 120 Wind Band Music in America 120 Revolutionary and Civil War Bands 121 French Military Bands 121 John Phillip Sousa 121 Paul Hindemith 122 William Schuman 122 Karel Husa 122 Michael Daugherty 122 Selected Wind Works by Other Composers 122 Chapter 11 | Answers to Study Guide Questions 125 EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page vii 1 CHAPTER 1 Introduction Having taught music appreciation at several institutions over the last two decades, I have found that the course is consistently a popular choice to fulfill a general education arts requirement, as few people do not “appreciate” music on a daily basis. Students come in confident in their understanding of what they consider “good” music and what music they like (and don’t like). Appreciating art music, however, understandably demands more formal guidance as this music has not been a part of many students’ experience. Students often have little prior knowledge of art music to build upon. Likewise, the body of available music is so large and dynamic that making analogies to popular music relevant to a majority of students in a given classroom is very difficult. The first few weeks in a music appreciation class are typically characterized by a group of students who are united in their love of music but struggling with the realization that they are going to be challenged to learn some practical listening skills and examine a body of music outside of their realm of experience. Initially, this realization is often uncomfortable, but our goal as instructors is of course to guide students toward a positive relationship with complex music, a relationship that will serve to enrich their education and hopefully last a lifetime. In a music appreciation course, learning is not relegated to the students alone, as the classroom is a wonderful place for the instructor to learn about a diverse array of musics. Moments of discovery are challenging and thrilling for all involved, as opening minds (of professors as well as students!) to a world of music is often the true goal in music appreciation, a goal that extends beyond simply learning about European art music. Particularly exciting is the moment when a student recognizes that characteristics of a piece of art music are also evident in her own favorite music. Witnessing a group of students learn to hear in a more sophisticated manner and have a deeper, richer relationship with music is continuously fulfilling. Since music appreciation is often intended for students who are not music majors, in many cases it constitutes their only formal exposure to the world of art music. However, such a course may also serve as a general introduction for aspiring music students, and it is generally followed by more in-depth music history classes. Enrollments for music appreciation understandably vary widely, from large lecture classes of five hundred or more students to small discussion groups of a handful of students. Regardless of the class size, this type of course is invaluable, as it offers the opportunity to introduce the enjoyment of music to vast numbers of students, enriching their awareness and helping them understand their musical tastes as well as their connection to our collective cultural history. EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 1 CHAPTER 2 Goals and Content What should be the primary goal of a music appreciation course? According to Joe Machlis, it should be to bring students as far as possible along the road to being music lovers. I believe this remains the most important goal. This aim can be accomplished by a variety of means including a maximum of listening exposure to all styles of music in the classroom, focusing on the basic elements of music (melody, harmony, rhythm, etc.), frequent required attendance at concerts, examination of the relationship of music to the sociocultural environment in which it was created, looking in depth at patronage and politics and their effect on music or vice-versa, investigating the lives and ideas of music’s leading creators, the composers, or through some combination of all these methods. Other issues to address in designing course content are the balance of popular and traditional music versus art music, Western music versus world music, and music written or performed by women versus music by men, and whether to follow a chronological outline or to address music by genre, geographical region, performing forces, or something else altogether. If you have small enough class, you may have the luxury to design the course around specific interests of your students; in a large classroom this is less likely but still possible. This new edition of The Enjoyment of Music has been designed to assist the instructor with these issues and to facilitate an interactive learning experience. The various components of the package are explained further in Chapter 4. Overall, the text and its organization is streamlined and simplified for easy consumption. Detailed information, such as lists of compositions with dates and Listening Guide analyses, with clear descriptions of “what to listen for” in terms of the musical elements, is presented graphically. This arrangement allows you flexibility in selecting the amount of detail most appropriate for your classroom and for your individual teaching style. The Eleventh Edition reflects our technological culture as well, with easy-to-use multimedia resources. For instructors, these include this online instructor’s manual and the newly expanded Instructor’s Resource Discs with 143 musical excerpts, ready-to-use PowerPoint lecture slides for each textbook chapter, and PowerPoint-ready Instruments of the Orchestra videos. New videos of orchestral performances are also included on the Instructor’s Resource Discs, and the Norton Opera Sampler includes over two hours of video excerpts of Metropolitan Opera performances. The text is supported for students with StudySpace, a multi layered online resource that enhances learning through composer biographies, era overviews, chapter-by-chapter outlines, quizzes, and more. In addition, students who purchase a new text can access Norton iMusic streaming audio, Metropolitan Opera videos, and Materials of Music Interactive. For a small fee, students can also access streaming audio of all the pieces found in the shorter Norton Recordings repertoire, along with interactive listening guides. Although many academic institutions now offer separate classes in popular, traditional, film, and world music, the movement to internationalize the general education curriculum beyond a singularly Western focus has a strong footing on many campuses. In this new edition, Kristine Forney is sensitive to this increasingly global trend. Discussions of non- Western musics are integrated throughout the book, and included in the Materials of Music Interactive. The Teaching Guide in this manual offers further resources to enhance these subjects in your classroom. Furthermore, popular styles of music—jazz, musical theater, film music, world music, traditional music, hip-hop, and rock—are presented in some detail throughout the text, with supporting music examples. 2 EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 2 3 Approaches CHAPTER 3 to Teaching Depending on your particular style and interests, and the goals you have set for your students (and perhaps institutionally established objectives), there are many different tactics for approaching and teaching music appreciation. The end goal is, of course, the same: to create a lifelong love of music supported by a sophisticated understanding of what is being heard. The intended outcome is always enjoyment. With this in mind, there are several ways in which one might approach the material. The chronological organization of The Enjoyment of Music encourages a multidisciplinary view, relating the development of music to parallel artistic and intellectual trends. In the text, the prelude for each era focuses on these developments and provides visual reinforcement in timelines. Each historical era is also supported by an overview of historical themes, musical context, and style in the StudySpace online at Whether you as the instructor go through the text methodically in chronological order or use the book as a “backstop” against which you introduce ideas you have selected to focus upon, the book and the ancillary materials are flexible resources, designed to meet your needs. Below are a few ideas of different approaches that have met with success in the classroom. HISTORICAL/CHRONOLOGICAL APPROACH Probably the most common method for teaching a music appreciation course is to start at the beginning and go to the end. This approach allows for a simple and logical introduction to the world of art music; it works especially well in traditional lecture classes, in which interaction between the student and the teacher is difficult. It also works well for an introductory class for music majors. There are other merits to this approach: since notated Western art music started out simply, with one melody and no harmony, the gradual introduction of terms and labeling of sounds at the beginning of a course is easier for students unfamiliar with music and musical terminology. As the music gets more complex through history, so does the analysis. Progressively the student continues to build on the foundation of the analytical structure that has already been established. Some instructors may opt to begin with the composers with whom students might have some acquaintance—Haydn, Mozart, and Beethoven, for example—and either go back later to pick up the first three eras of Western art music or leave them out altogether. Some choose to speed though the Middle Ages and Renaissance, and then slacken the pace when they reach the Baroque era. It is, of course, up to the instructor to choose where to begin and where to stop. Other instructors have found that a complete chronological approach works best, for many reasons. For example, it is easier to teach the significance of the Dies irae in Berlioz’s Symphonie fantastique if the students have been exposed to Gregorian chant. As contemporary art music becomes more eclectic and encyclopedic in nature, putting it in the context of the entire history of Western art music is often most beneficial. BIOGRAPHICAL, OR GREAT COMPOSER, APPROACH The biographical approach works well for a class when the objective is to produce students who will become informed patrons of the arts. This approach also encourages classroom discussion and a more interactive experience in classes with smaller enrollments. EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 3 4 | Chapter 3 The Enjoyment of Music has long been known for its informative, highly readable biographies of the great masters of Western art music that include memorable quotes and anecdotes that students retain long after the course is completed. The biographical information found in the text engages students, allowing them to easily master the material on their own, while providing a common framework for greater understanding in the classroom. In the text, the principal works of each composer are discussed and summarized for quick reference. The instructor can use the outline of the composer’s life to emphasize selected events and works and bring to light the students’ shared humanity with the composers. The text includes composers who have been deemed “the greats” (both men and women) in the Western tradition; this approach will prepare your students well for most classical concert settings. StudySpace supports this approach with informative composer biographies and other information. The iMusic examples enhance this approach further by offering many pieces by selected masters beyond the principal works available in the CD set that accompanies the textbook. LISTENING APPROACH Perhaps the single most important teaching tool we have for music appreciation is the actual listening experience, through either recordings or live performances. Most music appreciation students will be surprised to find that, in the middle of a lecture, music is played! These experiences are often the only exposure to Western art music that students have, although they may also be familiar with some styles from sampling in hip-hop and other popular musics, film scores, and video game music. A major goal of a listening-based approach is to help the students become active listeners. This is no small task given that we, as a sound culture, are bombarded with noise constantly, and we have developed, culturally, skills to tune out music subconsciously. Technology is helpful to this listening- centered approach as portable audio devices are varied and omnipresent. Additionally, today’s digital natives are well versed in compiling and manipulating audio files. A listening-centered approach to the material works best with a smaller class in which interaction with live music and performers is manageable, however I have witnessed success using this approach in a large lecture as well. Recordings are convenient teaching tools because you can easily highlight specific moments and replay them for clarity. Of course, nothing can replace a live performance, and if possible, students should get to see and hear art music performed live by high-quality performers. In-class demonstration by music students is often quite successful and the peer-to-peer dialog that takes place in such an event is valuable for all involved. Not only will the students in the class engage differently with a “classical” musician who is their own age (imagine!), but the student musicians and the instructor will gain insight into the thoughts of the younger listening audience. Classroom teaching provides the perfect setting for guided listening, especially when examining longer, more complex forms. The electronic Listening Guides, Materials of Music Interactive activities, and iMusic examples provided on StudySpace will encourage interaction between listening and learning in the classroom and will provide a model for students to analyze the music independently. Regular out-ofclass listening can be encouraged through use of the CDs in The Norton Recordings and through iMusic examples. ANALYSIS APPROACH With students who are for the most part not musicians, the appropriate level of musical analysis needs to be determined. While it is not suggested to completely avoid the issue of form and analysis, hearing secondary dominants is perhaps too much to ask of beginners. Hearing a tonic and the tension created through the use of chromaticism is certainly possible, however, and enriches listeners’ experience, as they grow to understand that the composer creates musical drama intentionally. Listening Guides provide options: you as the instructor can introduce the general form and go into as much detail as you wish, or as the level of the class allows. The electronic Listening Guides and online examples also provide visual cues to students that will help them find where they are in the piece. Each guide is designed for the student to follow while listening. It is probably not possible to cover every work in the text in analysis-focused course. For those works that you wish to cover quickly or not at all, the detailed Listening Guide can simply be left out. The Materials of Music Interactive exercises on StudySpace are also useful tools to aid in the mastery of formal structures. DEVELOPMENT OF STYLES APPROACH Understanding what makes one style different from another is a complex issue. The Enjoyment of Music provides a solid approach to understanding style for beginning music students, offering several features that will facilitate this method. The genre organization within each part in the book allows students exposure to all examples of one genre in an era, proceeding from the earliest to the latest. Tabular summaries assist students in comparing two consecutive style periods. The multidisciplinary focus of the prelude for each historical era serves to place music within the context of major artistic styles and developments. Using these features, a student can learn to understand the development of a genre through several style periods. StudySpace reinforces these principles, notably EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 4 Approaches to Teaching | 5 through the overviews, quizzes, and listening excerpts. Stylistic traits can be emphasized with extra listening on StudySpace. GENRE APPROACH Another way to emphasize musical style is to use a genrebased approach. This organization, proceeding chronologically through each vocal and instrumental form, highlights the stylistic differences found among similar forms composed in various eras. The survey of each genre covers roughly the same historical periods, although it points out developments specific to individual forms. This survey might begin with vocal music, as generally the words make the students’ understanding of these works easier. One possible path would begin with sacred vocal music and then follow with secular vocal music and opera. Instrumental music could then be presented, beginning with the most accessible genres—such as program music and works with simpler forms—before proceeding to the larger and more complex sonata cycle. MULTICULTURAL APPROACH The main goal of this text is to help the student gain an appreciation of Western art music. The evolution of popular, folk, and art musics is inseparable, and it is impossible and counterproductive to remove popular and traditional music from a discussion of art music. Integrated throughout the book are readings and recordings that give insight into traditional or popular music relevant to the topic at hand. These developments can be expanded on with supplemental reading, listening, videos, or online resources. The Study Guide also contains exercises with independent listening projects that serve to enhance these readings. GENDER EQUITY APPROACH Although many institutions have independent courses on women and music, a general music appreciation class can easily introduce the role that women have played in music throughout history. Some instructors may elect to focus on women as composers, while others may look more broadly at women as patrons and as performers, both amateur and professional. The broader approach encourages an understanding of the sociocultural setting of each era and allows a more balanced perspective of the role gender has played. The text supports this approach by providing important historical information in the introduction to each era and by focusing on particular women performers and pieces written for women throughout the centuries. EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 5 Teaching CHAPTER 4 Materials Available A. The Enjoyment of Music, Eleventh Edition 1. Full Version 2. Shorter Version (also available as an eBook) 3. Essential Listening Edition (forthcoming in 2013) B. The Norton Recordings, Eleventh Edition 1. 8 CDs (for the Full Version) 2. 4 CDs (for the Shorter Version, also available with Interactive Listening Guides as mp3s on DVD and as streaming audio) C. Student Resources at StudySpace ( D. The Study Guide to Accompany The Enjoyment of Music, Eleventh Edition E. The Norton Scores, Eleventh Edition, edited by Kristine Forney, with textual notes by Roger Hickman 1. Volume I: From Gregorian Chant to Beethoven 2. Volume II: From Schubert to the Present F. The Norton Opera Sampler (available as DVD for instructors and streaming video for students) G. Instruments of the Orchestra (available as DVD for instructors and streaming video for students) H. Instructor’s Resource Manual, by Alicia M. Doyle I. Instructor’s Resource Discs 1, Enhanced PowerPoint Slides 2. Art PowerPoints 3. PowerPoint-ready Instruments of the Orchestra Video 4. Music Example Bank mp3 excerpts 5. Orchestral Performance Videos J. Test Bank and Computerized Test Bank, by Roger Hickman K. Norton Gradebook L. Music Example Bank (4 CDs) M. Coursepacks A. Text Versions The Enjoyment of Music, Eleventh Edition, is available in three different versions: 1. The Full Version (595 pp. + appendices) presents an introduction to the elements of music, followed by the musical style periods in historical sequence, beginning with the Middle Ages and ending with the Contemporary era. This version includes detailed discussion and listening guides for 97 works, all of which are included on the 8-CD set of The Norton Recordings. 2. The Shorter Version (425 pp. + appendices) is also ordered chronologically, with the basic elements of music at the beginning. Maintaining the same chapter structure, this version offers an abridged discussion of some topics, and includes 62 listening guides, the music for which is on the 4-CD set of The Norton Recordings. These recordings are available in other formats as well (see below) 3. The Essentials Version, forthcoming in 2012, will feature a new modular organization. Features of the Full and Shorter Versions: a. A simplified two-tiered organizational plan facilitates the use of the book: the larger division is 6 EnjMus11-IRM_Norton 8 1/2 x 11 specs 6/10/11 5:20 PM Page 6 Teaching Materials Available | 7