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Anthology for Music in Western Civilization, Volume C: Romanticism to the Present 1st Edition

Timothy J. Roden, Craig Wright, Bryan R. Simms

  • Published
  • 400 Pages


All volumes of ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION by Wright, Simms, and Roden contain 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 the text MUSIC IN WESTERN CIVILIZATION and included in its CD set. It is available in a two- and a three-volume set to provide instructors with maximum flexibility. It can also be customized through TextChoice.

Timothy J. Roden, Ohio Wesleyan University

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 Wright, Yale University

Craig M. Wright received his Bachelor of Music degree at the Eastman School of Music in 1966 and his Ph.D. in musicology from Harvard University in 1972. He began his teaching career at the University of Kentucky and for the past forty years has been teaching at Yale University, where he is currently the Henry L. and Lucy G. Moses Professor of Music. At Yale, Wright’s courses include 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. And in 2010 he was elected a member of the American Academy of Arts and Sciences, joining fellow inductee, banjo player Steve Martin. In addition to LISTENING TO MUSIC and LISTENING TO WESTERN MUSIC, EIGHTH EDITION, Wright has also published THE ESSENTIAL LISTENING TO MUSIC, SECOND EDITION; LISTENING TO MUSIC, CHINESE EDITION (Schirmer Cengage Learning/Three Union Press, 2012), translated and simplified by Profs. Li Xiujung (China Conservatory, Beijing) and Yu Zhigang (Central Conservatory, Beijing), both of whom worked with Wright at Yale; and MUSIC IN WESTERN CIVILIZATION, MEDIA UPDATE (Schirmer Cengage Learning, 2010), with coauthor Bryan Simms. He is currently at work on a volume titled MOZART’S BRAIN: EXPLORING THE NATURE OF GENIUS.

Bryan R. Simms, University of Southern California

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).
52. Franz Schubert.
Schubert, ERLKÖNIG. Schubert, GANYMED. Schubert, NÄHE DES GELIEBTEN.
53. Music in Paris Under Louis Philippe: Berlioz and Chopin.
Berlioz, SYMPHONIE FANTASTIQUE, 4th mvt. Berlioz, "Absence" from LES NUITS D''ÉTÉ. Chopin, Nocturne in D-flat major.
54. Leipzig and the Gewandhaus: Mendelssohn and the Schumanns.
Mendelssohn, Piano Trio in D minor, 1st mvt. Robert Schumann, Symphony No. 1, 2nd mvt. Clara Schumann, LIEBST DU UM SCHÖNHEIT.
55. German Opera in the Nineteenth Century: Weber and Wagner.
Weber, DER FREISCHÜTZ, Wolf''s Glen Scene. Wagner, DAS RHEINGOLD, Entrance of the Gods into Valhalla.
56. Opera in Italy: Rossini and Verdi.
Rossini, THE BARBER OF SEVILLE, Act 1, No. 1. Verdi, OTELLO, Act IV, Sc. 3.
57. Nationalism and Virtuosity: Franz Liszt.
58. Vienna in the Late Nineteenth Century: Brahms and Bruckner.
Brahms, Symphony No. 3, 1st mvt. Brahms, FELDEINSAMKEIT. Bruckner, CHRISTUS FACTUS EST.
59. Music and Ballet in Nineteenth-Century Russia: Mussorgsky and Tchaikovsky.
Mussorgsky, SUNLESS, "Within Four Walls." Tchaikovsky, NUTCRACKER, Act 1, No. 8.
60. Vienna at the Turn of the Twentieth Century: Gustav and Alma Mahler.
Gustav Mahler, Symphony No. 5, 4th mvt. Gustav Mahler, "Um Mittnernacht." Alma Mahler, "Die stille Stadt."
61. England at the End of the Romantic Period: Elgar and Vaughan Williams.
Elgar, ENIGMA Variations, theme and 9th variation ("Nimrod").
62. Opera in Milan After Verdi: Puccini, Toscanini, and Verismo.
Puccini, MADAMA BUTTERFLY, "Dovunque al mondo."
63. Paris of the Belle Époque: Debussy, Fauré, and Lili Boulanger.
Debussy, FÊTES GALANTES I, "En sourdine."
Debussy, IMAGES I, "Reflets dans l''eau."
Debussy, NOCTURNES, "Nuages."
Fauré, Dans la forêt de septembre.
Boulanger, CLAIRIÈRES DANS LE CIEL, "Elle est gravement gaie."

64. Richard Strauss in Berlin.
Strauss, SALOME, concluding scene.
65. Music in Russia During the Silver Age: Igor Stravinsky.
Stravinsky, THE RITE OF SPRING, "Procession of the Sage," "The Sage," "Dance of the Earth."
66. Atonality: Schoenberg and Scriabin.
Schoenberg, Piano Piece, Op. 11, No. 1. Schoenberg, PIERROT LUNAIRE, "Nacht." Scriabin, Piano Prelude, Op. 74, No. 5.
67. French Music at the Time of World War I: Ravel and Satie.
Ravel, LE TOMBEAU DE COUPERIN, "Rigaudon." Satie, Sarabande No. 2.
68. Music in Paris After World War I: Stravinsky and the Six.
Stravinsky, Octet, 1st mvt. Milhaud, SAUDADES DE BRAZIL, "Botofago."
69. Vienna in the Aftermath of War: Twelve-Tone Methods.
Schoenberg, String Quartet No. 4, 1st mvt. Webern, Symphony, 2nd mvt.
70. Musical Theater in Germany in the 1920s: Berg and Weill.
Berg, WOZZECK, Act 3, Sc. 2. Weill, THE THREEPENNY OPERA, "Ballad of Mack the Knife."
71. Béla Bartók and Hungarian Folk Music.
Bartók, EIGHT HUNGARIAN FOLK SONGS, "Fekete föd." Bartók, Concerto for Orchestra, 1st mvt.
72. Early Jazz.
Joplin, "Maple Leaf Rag."
73. Paul Hindemith and Music in Nazi Germany.
Hindemith, MATHIS DER MALER, Sc. 6, Entrance 3.
74. Music in Soviet Russia: Prokofiev and Shostakovich.
Prokofiev, Piano Sonata No. 7, 3rd mvt. Shostakovich, Piano Concerto No. 1, 1st mvt.
75. Self-Reliance in American Music: Ives, Seeger, Nancarrow.
Ives, "Feldeinsamkeit." Ives, "Charlie Rutlage." Ives, THE UNANSWERED QUESTION. Seeger, String Quartet, 2nd mvt.
76. American Composers Return from Europe: Copland and Barber.
Copland, Piano Variations. Copland, APPALACIAN SPRING, "Variations on a Shaker Hymn." Barber, HERMIT SONGS, "Sea-Snatch."
77. Tin Pan Alley and the Broadway Musical.
Gershwin, "The Man I Love." Rodgers and Hammerstein, OKLAHOMA! "I Cain''t Say No." Bernstein, WEST SIDE STORY, "Cool."

78. Reflections on War: Britten, Penderecki, and Others.
79. Twelve-Tone Music and Serialism After World War II.
Babbitt, Composition for Piano No. 1. Stravinsky, AGON, Bransle Double. Boulez, LE MARTEAU SANS MAÎTRE, "L''artisanat furieux."
80. Alternatives to Serialism: Chance, Electronics, Textures.
Cage, MUSIC OF CHANGES, Part 1. Varèse, POÈME ÉLECTRONIQUE. Messiaen, "Mode de valeurs et d''intensités."
82. Music in the 1960s and 1970s: Live Processes, Minimalism, Metric Modulations.
Berio, CIRCLES, "Stinging Gold Swarms." Crumb, ANCIENT VOICES OF CHILDREN, "¿De donde vienes?" Carter, String Quartet No. 2, Introduction and 1st mvt. Reich, CLAPPING MUSIC.
83. Returning to the Known: Music of the Recent Past.

"These are skills that I find lacking in many of our incoming graduate students. While they 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 proposed anthology goes a long way toward helping to address this general shortcoming in the training of undergraduate music majors."

"I would be highly likely to use the anthology should I adopt the textbook. … The choice of examples seems a good mix of pieces that are discussed in many textbooks."