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The ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION, Media Update, Volume I, together with its companion Volume II, contains a total of 224 scores representing all the major European styles, genres, and composers. The anthologies include an introduction to, a score for, and (where applicable) lyrics and translation for each piece discussed in Wright and Simms’s MUSIC IN WESTERN CIVILIZATION and included in the supplementary CD set. Volume I of the anthology is correlated to Chapters 1 through 40 in the text, while Volume II is correlated to Chapters 41 through 83 in the text. The anthologies are available in a two-volume set to provide instructors with maximum flexibility.
- Informative, in-depth introductions to each of the pieces discussed in Wright and Simms’s text, MUSIC IN CIVILIZATION, go into greater detail on the points explored in the text.
- Complete scores for each piece of music included, and where applicable, lyrics and translation follow the score.
- Two volumes for maximum teaching flexibility are especially useful for instructors who teach the course over two terms. Volume I of the anthology is correlated to Chapters 1 through 40 in the text Music in Western Civilization, while Volume II is correlated to Chapters 41 through 83.
- Superb, review-acclaimed scholarship is in the anthologies and the core textbook. The clear writing places music in a useful and popular sociocultural context.
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 Trouvères.
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 Master’s 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 Cöthen.
40. Johann Sebastian Bach: Vocal Music in Leipzig.
"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."