In this Section:
1) Brief Table of Contents
2) Full Table of Contents
BRIEF TABLE OF CONTENTS:
Part One: The Medieval Era
Chapter 1. Plainchant and Secular Monophony
Chapter 2. Polyphony to 1300
Chapter 3. Music in the 14th Century
Part Two: The Renaissance
Chapter 4. The Emergence of Renaissance Style
Chapter 5. The Genres of Renaissance Music, 1420–1520
Chapter 6. Music in the 16th Century
Part Three: The Baroque Era
Chapter 7. The New Practice
Chapter 8. Vocal Music, 1600–1650
Chapter 9. Vocal Music, 1650–1750
Chapter 10. Instrumental Music, 1600–1750
Part Four: The Classical Era
Chapter 11. The Art of the Natural
Chapter 12. Instrumental Music in the Classical Era
Chapter 13. Vocal Music in the Classical Era Major Composers of the Classical Era
Part Five: The 19th Century
Chapter 14. The Age of the Tone Poet
Chapter 15. Orchestral Music, 1800–1850
Chapter 16. Piano Music, Chamber Music, Song
Chapter 17. Dramatic and Choral Music
Chapter 18. Orchestral Music, 1850–1900
Part Six: The 20th Century
Chapter 19. The Growth of Pluralism
Chapter 20. The Search for New Sounds, 1890–1945
Chapter 21. Beyond Tonality
Chapter 22. The Tonal Tradition
Chapter 23. New Currents after 1945
Chapter 24. Popular Music
FULL TABLE OF CONTENTS:
Part One: The Medieval Era
Chapter 1. Plainchant and Secular Monophony
The Emergence of Plainchant
The Elements of Plainchant
The Expansion of Plainchant
Secular Monophony
Chapter 2. Polyphony to 1300
Organum
Mensural Notation
Chapter 3. Music in the 14th Century
France: The Arts Nova
Italy: The Trecento
Part Two: The Renaissance
Chapter 4. The Emergence of Renaissance Style
Consonance and Dissonance: Trusting the Eat
Sonority: The Contenance Angloise
Josquin’s Ave Maria…Virgo Serena and the Style of the Renaissance
Chapter 5. The Genres of Renaissance Music, 1420–1520
Sacred Vocal Music
Secular Vocal Music
Instrumental Music
Chapter 6. Music in the 16th Century
Sacred Vocal Music
Secular Vocal Music
Instrumental Music
Part Three: The Baroque Era
Chapter 7. The New Practice
Searching for the Secretes of Ancient Greek Music
The Florentine Camerata
The Seconda Prattica
Music in the Baroque Era: A Stylistic Overview
Chapter 8. Vocal Music, 1600–1650
Secular Song
Opera
Sacred Music
Chapter 9. Vocal Music, 1650–1750
Opera
Sacred Music
Conceptions Of The Compositional Process
Chapter 10. Instrumental Music, 1600–1750
Instruments of The Baroque Era
Instrumental Genres of The Baroque Era
Part Four: The Classical Era
Chapter 11. The Art of the Natural
Music and The Idea of Nature
Music in The Classical Era: A Stylistic Overview
Style and Form in The Mid-18th Century
Chapter 12. Instrumental Music in the Classical Era
The Language of Instrumental Music
Form and Genre in Instrumental Music
Chapter 13. Vocal Music in the Classical Era Major Composers of the Classical Era
The Rise of Opera Buffa
Opera Wars
Gluck and The Reform of Opera
Mozart and The Synthesis of Operatic Styles
Sacred Music
Song
Part Five: The 19th Century
Chapter 14. The Age of the Tone Poet
Romanticism and The New Prestige of instrumental Music
The Composer As High Priest
Originality and Historical Self-Consciousness
The New Dichotomy Between Absolute and Program
Nationalism
The Growing Division Between Art and Popular Music
Music in The 19th Century: A Stylistic
Overview
Chapter 15. Orchestral Music, 1800–1850
Bigger Halls, Bigger Audiences, and Louder Instruments
The Symphony
The Concert Overture
The Concerto
Chapter 16. Piano Music, Chamber Music, Song
Beethoven’s Piano Sonatas and String Quartets
Song
The Character Piece
The Virtuoso Showpiece
Chapter 17. Dramatic and Choral Music
Opera
Operetta
Choral Music
Chapter 18. Orchestral Music, 1850–1900
Music For Dancing And Marching
The Ballet
The Symphonic Poem
The Symphony
Major Composers of the 19th Century
Part Six: The 20th Century
Chapter 19. The Growth of Pluralism
From Homogeneity to Diversity
The Past Confronts The Present
Recorded Versus Live Music
Authenticity
Music in 20th-Century Society
Chapter 20. The Search for New Sounds, 1890–1945
Impressionism
Challenges to Tonality
Radical Primitivism
Nationalism
New Timbres
Chapter 21. Beyond Tonality
Atonality
Serial Composition
Chapter 22. The Tonal Tradition
Neoclassicism and The “New Objectivity”
Orchestral Music
Film Music
Ballet
Chamber Music
Opera and Musical Theater
Chapter 23. New Currents after 1945
New Sounds from Old Instruments
Combinatoriality
Integral Serialism
Aleatory Music
Electronic Music
Minimalism
Postmodernism
Chapter 24. Popular Music
Hymnody and its Legacy
Ragtime and Blues
Popular Song
Jazz: To 1945
Jazz: After 1945
Country Music
The Folk Revival
Rhythm & Blues, Rock, and Rap
Major Composers of the 20th Century
Mark Evan Bonds is the Cory 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 (BA), Christian-Albrechts-Universit™t Kiel (MA), and Harvard University (PhD). His publications include Wordless Rhetoric: Musical Form and the Metaphor of the Oration (1991), After Beethoven: Imperatives of Symphonic Originality (1996), and Music asThought: Listeningto the Symphony in the Age of Beethoven (2006). He has also published essays on the music of Haydn and Mozart and has served as editor-in-chief of Beethoven Forum.
“Well written, a good balance between purely musical topics and relevant extra-musical topics.” - Jim Davis, SUNY Fredonia “the chapters unfold and flow with a good pace and great clarity. The illustrations and the tables and windows animate and diversify the text greatly. The tone is definitely appropriate in its professionality, authority, and competence.” - Sara Waltz, University of the Pacific “A comprehensive history which addresses music within the social and cultural climate from which it comes.” - Eric Wood, University of the Pacific “Great on features, readability and coverage. I (and my students) enjoy all the features. They really make the book come alive.” - Karl Hinterbichler, University of New Mexico
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