Table of Contents

Part I: ANTIQUITY AND THE MIDDLE AGES.
1. Music in Ancient Greece.
2. Antiquity to the Middle Ages: Music in Rome, Jerusalem, and the Early Christian World.
3. Chant in the Monastery and Convent.
4. Music Theory in the Monastery: John of St. Gall and Guido of Arezzo.
5. Later Medieval Chant: Tropes, Sequences, and the Liturgical Drama of Hildegard of Bingen.
6. Troubadours and Trouv�res.
7. Early Polyphony.
8. Music in Medieval Paris: Polyphony at Notre Dame.
9. Inside the Cathedral Close and University: Conductus and Motet.
10. In the Parisian Masters Study: Music Theory of the Ars Antiqua and Ars Nova.
11. Music at the Court of the French Kings: The Ars Nova.
12. Fourteenth-Century Music in Reims: Guillaume de Machaut.
13. Avignon, Symbolic Scores, and the Ars Subtilior.
Musical Interlude 1: From Medieval Manuscript to Modern Performance.
Part II: THE LATE MIDDLE AGES AND EARLY RENAISSANCE.
14. Music in Florence, 1350-1425.
15. Music at the Cathedral of Florence.
16. Music in England.
17. Music at the Court of Burgundy.
18. Music at the French Royal Court.
19. Music in the Low Countries.
Part III: THE LATE RENAISSANCE.
Musical Interlude 2: Music in the Late Renaissance.
20. Popular Music in Florence, 1470-1540: Carnival Song and Lauda, Frottola, and Early Madrigal.
21. Josquin Desprez and Music in Ferrara.
Musical Interlude 3: Music Printing During the Renaissance.
22. Music in Renaissance Paris.
23. Renaissance Instruments and Instrumental Music.
Musical Interlude 4: Music Theory in the Renaissance.
24. Music in Three German Cities: The Protestant-Catholic Confrontation.
25. Rome and the Music of the Counter-Reformation.
26. Music in Elizabethan England, Part I: Early Vocal Music.
27. Music in Elizabethan England, Part II: Later Vocal Music and Instrumental Music.
28. The Later Madrigal in Ferrara and Mantua: Gesualdo and Monteverdi.
Part IV: BAROQUE MUSIC.
29. Early Baroque Music.
30. The Birth of Opera: Florence, Mantua, and Venice.
31. The Concerted Style in Venice and Dresden.
32. Religious Music in Baroque Rome.
Musical Interlude 5: A Baroque Christmas in the Andes of South America.
33. Instrumental Music in Italy.
34. Instrumental Music in Germany and Austria.
35. Music in Paris and at the Court of Versailles: Vocal Music.
36. Music in Paris and at the Court of Versailles: Instrumental Music.
Musical Interlude 6: From Ancient to Modern: Aspects of Baroque Music Theory.
37. Music in London, Part I: Henry Purcell.
38. Music in London, Part II: George Frideric Handel.
39. Johann Sebastian Bach: Instrumental Music in Weimar and C�then.
40. Johann Sebastian Bach: Vocal Music in Leipzig.

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, Ph.D., received his Bachelor of Music from the Eastman School of Music in 1966 and his Doctorate in Musicology from Harvard University in 1972. He began his teaching career at the University of Kentucky and for over forty years taught at Yale University, where he was the Henry L. and Lucy G. Moses Professor of Music. At Yale, Wright�s courses included 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. In 2010 he was elected a member of the American Academy of Arts and Sciences, joining fellow inductee and banjo player Steve Martin.

Reviews

"While many of our incoming graduate students tend to be adept at identifying styles and composers in listening exams, they tend to freeze up when a score is put in front of them. . . . The anthology goes a long way toward helping to address this general shortcoming in the training of undergraduate music majors."