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Loose Leaf for The World of Music 8 2017 9780077720575 David Willoughby’s approach has helped a generation of students appreciate music as it exists in the real world. The eighth edition brings The World of Music's inclusive approach into the twenty-first century. Listening experiences and classroom discussions are more personal to your students than ever before! Students who learn from The World of Music will be able to recognize different styles of music and appreciate their different functions, and will acquire a solid foundation for continued learning in areas that inspire them personally.
Loose Leaf for The World of Music
Loose Leaf for The World of Music

Loose Leaf for The World of Music, 8th Edition

ISBN10: 0077720571 | ISBN13: 9780077720575
By David Willoughby
© 2017

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* The estimated amount of time this product will be on the market is based on a number of factors, including faculty input to instructional design and the prior revision cycle and updates to academic research-which typically results in a revision cycle ranging from every two to four years for this product. Pricing subject to change at any time.

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David Willoughby’s approach has helped a generation of students appreciate music as it exists in the real world. The eighth edition brings The World of Music's inclusive approach into the twenty-first century. Listening experiences and classroom discussions are more personal to your students than ever before! Students who learn from The World of Music will be able to recognize different styles of music and appreciate their different functions, and will acquire a solid foundation for continued learning in areas that inspire them personally.

World of MusicTable of Contents

Part One: Preparation for Listening

Chapter 1: Introducing the World of Music 4

The Infinite Variety of Music: A Global Perspective

The American Mainstream and Ethnic Diversity

Music in Culture

Music Labels: Help or Hindrance?

Artists and Artistry

The Business of Music

Manufacturing and Merchandising

Performance of Music

Music Publishing and Copyright Laws

Music in Advertising

Music in the Community


Chapter 2: The Nature of Music: Vocabulary for Listening and Understanding 18

Definitions of Music

Music as a Science

Expressive and Functional Qualities of Music

Music Is Sound and Silence

Music Moves through Time

Music Is an Art

Music Is Universal

Music Is a Means of Expression

Music Can Be Functional

Music Is a Changing Art

The Creative, Performing, and Listening Experiences

Participating in Active Listening

The Elements of Music





Tone Quality

Interaction of the Elements

To Create a Style: Musical Concepts


Genres and Forms

Melodic Growth and Character

Goals for Listening


Part Two: Listening to American Music: Folk, Religious, Jazz, and Pop

Chapter 3: Folk Music Traditions 42

Goals for Listening

The Roots of Traditional Folk Music

Types of Folk Music

The Blues

Folk Music: An Expanded View

The Urban Folk Revival

Urban Blues


Chapter 4: Religious Music Traditions 56

Goals for Listening

The Roots of American Protestant Music

Psalm Singing and Psalters

Lining Out, Singing Schools, and the Shape-Note System

Traditional Black Gospel Music

White Gospel Music: Revival and Evangelical Hymns

Popular Contemporary Styles


Chapter 5: Jazz Styles 72

Goals for Listening

What Is Jazz?

The Jazz Style

The Feel of Swing



The Roots of Jazz

Jazz Styles

New Orleans and Chicago Jazz

Stride and Boogie Woogie

Swing and Big Band Jazz


Cool Jazz, Hard Bop, Soul Jazz, and Free Jazz

Modern Jazz, Fusion, and Smooth Jazz


Chapter 6: Popular Music

Goals for Listening

The Definition and Scope of Popular Music

Pre-Twentieth Century

Twentieth Century and Beyond

Tin Pan Alley

Radio and Recordings

Country Music

Cowboy Songs and Western Swing
The Nashville Sound
Contemporary Country

Early African American Influences

Rhythm and Blues

Contemporary Styles


Other Genres


Part Three: Listening to World Music

Chapter 7: Music of the Americas 132

Goals for Listening

Native American Music

Style and Context

Assimilation and Preservation

Ethnic Music in the United States


Latino Music

Cajun and Zydeco Music

Music of South America, Mexico, and the Caribbean

Indigenous Folk Culture

Musical Instruments

Folk Songs and Dances

Religious Influences


Chapter 8: Music Beyond the Americas 152

Goals for Listening

Music in India

Classical Music

Popular Music

Music in Japan

The Performance Context

Musical Genres

Koto, Shakuhachi, and Shamisen

Music in Sub-Saharan Africa

Music in Context



Popular Music

Music in Eastern Europe

Indonesian Gamelan and Popular Music

Jewish Music

Cultural Context

Liturgical Music

Klezmer Music

Celtic Music



The Chieftains


Part Four: Listening to Western Classical Music

Chapter 9: Music to 1600 184

Goals for Listening

The Beginnings of Western Music (until 1450)

Gregorian Chant


Polyphonic Music

The Renaissance (1450–1600)

Choral and Vocal Music


Instrumental Music

The Reformation

Featured Composers

Josquin des Prez
Giovanni Pierluigi da Palestrina
Giovanni Gabrieli


Chapter 10: Music of the Baroque Period (1600–1750) 212

Goals for Listening

Musical Characteristics


Major-Minor Tonal System


Word Painting

Other Musical Characteristics


Musical Forms and Genres


Orchestral Works

Chamber Music

Keyboard Works

Choral Music

Featured Composers

Johann Sebastian Bach

George Frideric Handel

Other Notable Composers


Chapter 11: Music of the Classic Period (1750–1820) 234

Goals for Listening

Musical Characteristics




Vocal, Choral, and Opera


Sonata Form

Theme and Variations Minuet and Trio


Featured Composers

Franz Joseph Haydn

Wolfgang Amadeus Mozart

Ludwig van Beethoven


Chapter 12: Music of the Romantic Period (Nineteenth Century) 252

Goals for Listening

Musical Characteristics

Forms and Genres

Instrumental Forms and Genres

Opera and Ballet

Keyboard Forms and Genres


Featured Composers

Johannes Brahms

Frédéric Chopin

Felix Mendelssohn

Franz Schubert

Pyotr I’yich Tchaikovsky

Giuseppe Verdi

Richard Wagner

Other Notable Composers


Chapter 13: Music of the Twentieth Century 272

Goals for Listening

General Characteristics

Stylistic Developments and Featured Composers

Impressionism: Claude Debussy

Experimental Music: Igor Stravinsky

Atonal Music and Serialism: Arnold Schoenberg

Electronic Music: Edgard Varèse

Chance Music: John Cage

Nationalism: Béla Bartók

Nationalism: Charles Ives and Aaron Copland

Additional American Composers

Amy Cheney Beach
Ruth Crawford
Ellen Taaffe Zwilich
Ulysses Kay
Henry Cowell
George Gershwin
William Grant Still

Neoclassical Music


Traditional Sounds



Chapter 14 (Create): Twenty-First-Century Perspectives

Featured Composers

Mickey Hart

Foday Musa Suso and the Kronos Quartet

Bela Fleck

Wu Man

Tan Dun

Terry Riley

John Adam

Jennifer Higdon


Selected Internet ResourcesAppendix: Classification for instruments according to Methods of Tone Production 






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About the Author

David Willoughby

Dr. David Willoughby, Professor Emeritus of Music at Eastern New Mexico University and former Dean of its College of Fine Arts, retired in 1993 after twenty years of service. He moved to Elizabethtown, Pennsylvania and immediately was named Head of the Music Department at Susquehanna University in Selinsgrove, a position he held for three years. From 1970-1973, he held the position of Assistant Director of the Ford Foundation/ MENC Contemporary Music Project, where, among other responsibilities, he served as Editor of the CMP Newsletter. From 1960-1970, he was Assistant/Associate Professor of Music at Elizabethtown College. Willoughby is now Minister of Music at the Church of the Brethren in Elizabethtown, where he directs the Adult Choir and the Bell Choir. He continues to play double bass and serves as Editor of the Newsletter of The College Music Society (CMS). The fourth edition of his book, The World of Music, has just been published by McGraw-Hill. Regarding CMS, he serves on the Council of Past Presidents, having served as President in 1987 and 1988. Previously, he was Board member for Music and General Studies (1980-1985) and a member of the Executive Committee (1986-1989). He served as Director of the Wingspread Conference on Music in General Studies (1981) and of the first four summer Institutes for Music in General Studies, Boulder, Colorado (1982-1985). (It was this Conference on Music in General Studies and these Institutes that prompted the first conversations, in 1985, that led to the first edition of The World of Music.)


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