Experience Music https://www.mheducation.com/cover-images/Jpeg_250-high/0078025222.jpeg 13 9780078025228
Experience Music

Experience Music

Grade Levels: 13
By Katherine Charlton
Copyright: 2016
Publication Date: January 13, 2015
MHID: 0078025222
ISBN 13: 9780078025228

  • Price :
  • Qty :
  • Total :

The purchase quantity range should be 1-29 for this product.

New Features

Experience Music On The Go - All of the audio selections addressed in Experience Music's Featured Listenings and Listening Guides are available in McGraw-Hill Education's Connect Music via simple streaming player and through newly re-designed interactive listening guides - now optimized for tablets and smartphones. Through Connect Music's Interactive Listening Guides, instructors can monitor whether individual students have completed the listening, as well as assign points for listening.

Experience Personalized Playlists - Recognizing musical elements in a piece you have never heard before is a learned skill. To help learn this skill, McGraw-Hill Education partnered with Spotify®, the service that allows you to build playlists and stream music for free. Look for the Spotify playlists integrated into the McGraw-Hill Education Connect Music eBook, or the Spotify marginal icons in the print edition. These will lead you to playlists that correspond to concepts covered in Experience Music. Through the Spotify playlists, you can access examples of specific musical elements in songs that are already familiar to you.

Experience Personalized Learning - McGraw-Hill Education's Connect Music is now fueled by LearnSmart, an adaptive learning program designed to personalize the learning experience. LearnSmart is proven to help students learn faster, study smarter, and retain more knowledge for greater success. By helping students master core concepts at their own pace, LearnSmart enables instructors to spend more meaningful time in the classroom.

Experience Personalized Grading - The first and only analytics tool of its kind, McGraw-Hill Education's Connect Insight is a series of visual data displays, each framed by an intuitive question, providing at-a-glance information on your class. Intuitive - Receive an instant, at-a-glance view of student performance matched with student activity. Dynamic - Connect Insight puts real-time analytics in your hands, so you can take action early and keep struggling students from falling behind. Mobile - Connect Insight travels from office to classroom, available on demand wherever and whenever it’s needed.

Create a Unique Music Experience - Through McGraw-Hill Create, a newly revised Rock Music chapter is available for instructors who want more focus on this genre—Katherine Charlton’s area of expertise. Additionally, Create-only concert reports are available by genre for instructors who want to include worksheets that guide students through this popular course exercise. McGraw-Hill Create allows you to build a unique print or eBook tailored to your course and syllabus. For more information, visit http://create.mheducation.com.

For Connect® users, the ReadAnywhere App is a free, downloadable app available on iOS and Android mobile devices. It gives students mobile freedom to access their eBook anywhere, even offline, on their smartphone or tablet. Once chapters are downloaded, students can use the same tools that are available in the eBook. Any notes or highlights they make in the eBook will sync across platforms. Visit https://www.mheducation.com/highered/explore/readanywhere.html for more information.

Key Features

McGraw-Hill Education's Connect Music is the most successful digital solution for the Music Appreciation course and continues to power the 4th Edition of this text. Connect Music delivers a truly integrated teaching and learning program that provides both one-click access to the program’s music selections and interactive exercises that focus on the listening process.

A three-part listening framework, Katherine Charlton's hallmark approach to developing critical listening skills, begins with a First Hearing to open each chapter. The Featured Listening then provides a step-by-step listening guide that returns students to the work heard in the First Hearing and trains them to discern the meaningful elements, theme, and instrumentation of the selection. Finally, each chapter ends with a Finale. Students are asked to use knowledge acquired in the chapter to respond to more advanced questions about the piece encountered in the First Hearing and Featured Listening. Having studied the piece throughout the chapter, students will see how much more they are able to hear in the same piece of music.

The “MusiCurious” feature, presented in a Q&A format throughout the chapters, addresses common student questions that were collected by the author over the course of her teaching career.

Experience Music

Prelude: The Fundamentals of Music

Chapter 1 Elements of Music: Sound, Rhythm, Melody, and Harmony





Chapter 2 Elements that Structure Music—Key, Texture, and Form




Chapter 3 Musical Instruments and Ensembles

Voices and Vocal Ensembles

Stringed Instruments

Plucked Stringed Instruments

Bowed Stringed Instruments



Percussion Instruments

Definite Pitch

Indefinite Pitch

Keyboard Instruments

Electronic Instruments

Instruments in Non-Western Cultures

Instrumental Ensembles

Chamber Ensembles

The Orchestra

The Wind Ensemble

The Conductor

Prelude: The Culture of Medieval Europe

Chapter 4 Medieval Music

Medieval Sacred Music

Gregorian Chant

Listening Guide: “Dies irae” (“Day of Wrath”), beginning section, by Anonymous

Hildegard of Bingen

Listening Guide: “O pastor animarum” (“Shepherd of Souls”), by Hildegard of Bingen

MusiCurious: Medieval Nuns’ Daily Lives

The Mass

Polyphony and Measured Rhythm

Featured Listening: “Viderunt omnes” (“All Have Seen”), beginning section, by Léonin

Guillaume de Machaut

Listening Guide: “Agnus Dei” (“Lamb of God”) from Messe de Nostre Dame (Mass of Our Lady), by Guillaume de Machaut

Medieval Secular Music

Hearing the Difference “Dies irae” and Machaut’s “Agnus Dei” 39

Improvised Accompaniment to Monophonic Songs

Listening Guide: “Tant m’abelis” (“So Much I Love”), by Berenguier de Palou 40

The Motet 43

Characteristics of Medieval Music 45

Prelude: The Renaissance: The Rebirth of Humanism

Chapter 5 Renaissance Music

Renaissance Sacred Music

Josquin des Prez

Featured Listening: “Ave Maria” (“Hail, Mary”), by Josquin des Prez

Giovanni Pierluigi da Palestrina

Listening Guide: “Kyrie” (“Lord”) from Missa Papae Marcelli (Pope Marcellus Mass), by Giovanni Pierluigi da Palestrina

Renaissance Secular Music

Hearing the Difference Josquin’s “Ave Maria” and Palestrina’s “Kyrie”

The Madrigal in Italy

MusiCurious: Home Entertainment during the Renaissance

The Madrigal in England

Listening Guide: “Fair Phyllis,” by John Farmer

The Chanson in France

The Lied in Germany

Lute Songs

Listening Guide: “Flow My Tears,” by John Dowland Renaissance Instrumental Music

Listening Guide: Three Dances from Terpsichore, by Michael Praetorius

Characteristics of Renaissance Music

Prelude: The Triumph of Baroque Style 62

Chapter 6 Baroque Opera

The Birth of Opera

Baroque Vocal Styles

MusiCurious: What Makes Opera Singers into International Stars

Claudio Monteverdi

MUSICURIOUS How Opera Makes Singers into International Stars

Listening Guide: “Tu se’ morta” (“You Are Dead”) from Act Two of Orfeo, by Claudio Monteverdi

Opera Outside of Italy

Featured Listening: “Thy Hand, Belinda” and “When I Am Laid in Earth” from Act Three of Dido and Aeneas, by Henry Purcell

Hearing the Difference: Dowland’s “Flow My Tears” and Purcell’s “When I Am Laid in Earth”

Chapter 7 Cantata

The Secular Cantata

The Chorale

The Sacred Cantata

Listening Guide: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, fourth movement, by Johann Sebastian Bach

Featured Listening: “Wachet auf” (“Sleepers Awake”), Cantata no. 140, seventh movement, by Johann Sebastian Bach

Johann Sebastian Bach

Chapter 8 Oratorio


MusiCurious: Oratorio or Opera?: Know the Difference

George Frideric Handel


Listening Guide: “Comfort Ye” from Messiah, by George Frideric Handel

Featured Listening: “Ev’ry Valley” from Messiah, by George Frideric Handel

Listening Guide: “Hallelujah” from Messiah, by George Frideric Handel

The Passion

Hearing the Difference: Bach’s “Wachet auf,” Cantata no. 140, seventh movement, and Handel’s “Hallelujah” Chorus

Chapter 9 Baroque Solo and Chamber Music

Keyboard Music


Featured Listening: “The Little Fugue in G Minor,” by Johann Sebastian Bach


MusiCurious: The King of Instruments

Listening Guide: “Bourree I” from Cello Suite no. 3 in C major, BWV 1009, by Johann Sebastian Bach

Baroque Sonata

Elisabeth-Claude Jacquet de la Guerre

Listening Guide: “Aria,” sixth movement, from Sonata in D Minor for Violin and Basso Continuo, by Elisabeth-Claude Jacquet de la Guerre

Chapter 10 The Baroque Orchestra

The Orchestra

Listening Guide: “Minuet” from Water Music, by George Frideric Handel

MusiCurious: How Baroque Players and Singers “Decorate” Music

Concerto Grosso

Listening Guide: Brandenburg Concerto no. 5, first movement, by Johann Sebastian Bach

Solo Concerto

Antonio Vivaldi

Featured Listening: “La Primavera” (“Spring”), first movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

MusiCurious: Attending a Concert

Listening Guide: “La Primavera” (“Spring”), second movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

Listening Guide: “La Primavera” (“Spring”), third movement, from Le Quattro Stagione (The Four Seasons), by Antonio Vivaldi

Characteristics of Baroque Music

Prelude: The Classical Era: Reason and Revolution

Chapter 11 The Classical Symphony

The Form of Classical Multimovement Works

Single-Movement Sonata Form

Theme and Variations Form

Minuet and Trio Form

The Classical Orchestra

MusiCurious: Why Composers Write “Boring” Slow Movements

MusiCurious: What Does the Conductor Do?

Wolfgang Amadeus Mozart

Listening Guide: Symphony no. 40 in G Minor, first movement, by Wolfgang Amadeus Mozart

Featured Listening: “Surprise,” Symphony no. 94 in G

Major, second movement, by Franz Joseph Haydn

Listening Guide: Symphony no. 40 in G Minor, third movement, by Wolfgang Amadeus Mozart

Hearing the Difference: Vivaldi’s “Spring,” first movement, and Mozart’s Symphony no. 40 in G Minor, first movement

Chapter 12 The Classical Concerto

Concerto Soloists

Double-Exposition Sonata Form

Featured Listening: Piano Concerto no. 23 in A Major, first movement, K. 488, by Wolfgang Amadeus Mozart

Hearing the Difference: Bach’s Brandenburg Concerto no. 5, first movement,and Mozart’s Piano Concerto no. 23, first movement

Chapter 13 Classical Chamber Music

Chamber Sonatas

Franz Joseph Haydn

MusiCurious: Chamber Music Concerts

Featured Listening: String Quartet op. 33, no. 3 (“The Bird”), fourth movement, by Franz Joseph Haydn Rondo Form

A Sonata for Flute and Guitar

Listening Guide: Grande Sonata no. 85 for flute and guitar, third movement, Scherzo, by Mauro Giuliani

Chapter 14 Classical Vocal Music

Haydn’s Vocal Music

Classical Opera

The Marriage of Figaro

MusiCurious: Classical and Romantic Opera (The Castrato Bows Out)

The Characters

The Plot

Listening Guide: “Non so più cosa son” (“I Don’t Know What I Am Anymore”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart

Featured Listening: “Non più andrai” (“No More Will You”) from Le Nozze di Figaro (The Marriage of Figaro), by Wolfgang Amadeus Mozart

Chapter 15 The Music of Beethoven

Ludwig van Beethoven

Featured Listening: Symphony no. 5 in C Minor, first movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, second movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, third movement, by Ludwig van Beethoven

Listening Guide: Symphony no. 5 in C Minor, fourth movement, by Ludwig van Beethoven

The Classical Piano

Hearing the Difference: Haydn’s Symphony no. 94, second movement, and Beethoven’s Symphony no. 5, second movement

Listening Guide: “Moonlight,” Piano Sonata no. 14 in C-Sharp Minor, op. 27, no. 2, first movement, by Ludwig van Beethoven

Characteristics of Classical Music

Prelude: Music of the Romantic Era

Chapter 16 Romantic Songs

The Salon

Art Song

MusicCurious: How Does a Composer Write a Piece of Music?

Franz Schubert

Featured Listening: “Erlkönig” (“King of the Elves”), by Franz Schubert

Robert and Clara Schumann

Listening Guide: “Im wunderschönen Monat Mai” (“In the Wonderfully Lovely Month of May”) from Dichterliebe (A Poet’s Love), by Robert Schumann

Listening Guide: “Leibst du um Schönheit” (“If You Love for Beauty’s Sake”), by Clara Wieck Schumann

Chapter 17 Romantic Piano Music

Frédéric Chopin and Franz Liszt

Featured Listening: Nocturne, op.9, no.2, by Frédéric Chopin

Listening Guide: Transcendental Étude No. 10 in F minor by Franz Liszt

Chapter 18 Romantic Program Music

MusiCurious: Does the Listener need to know the Program in Program Music?

Hector Berlioz

Symphonie fantastique

Featured Listening: Symphonie fantastique, fifth movement, “Dream of a Witches’ Sabbath,” by Hector Berlioz

Hearing the Difference: Beethoven’s Symphony no. 5, first movement, and Berlioz’s Symphonie fantastique, fifth movement

Other Program Music

Chapter 19 Nationalism in the Romantic Era

Bedřich Smetana

Featured Listening: “The Moldau,” by Bedřich Smetana

Chapter 20 The Concert Overture

Peter Ilyich Tchaikovsky

Romeo and Juliet Overture

MusiCurious: Romeo and Juliet: The Alternate Endings

Featured Listening: Romeo and Juliet Overture, by Peter Ilyich Tchaikovsky

Chapter 21 The Romantic Concerto

Felix Mendelssohn and Fanny Mendelssohn Hensel

Mendelssohn’s Concerto

Featured Listening: Violin Concerto in E Minor, op. 64, first movement, by Felix Mendelssohn

Hearing the Difference: Vivaldi’s “La Primavera,” first movement, and Mendelssohn’s Violin Concerto, first movement

Chapter 22 Romantic Choral Music

Johannes Brahms

Brahms’s Requiem

Featured Listening: Ein Deutsches Requiem (A German Requiem), op. 45, fourth movement, “How Lovely Is They Dwelling Place,” by Johannes Brahms

Chapter 23 The Late Romantic Symphonies

The Romantic Symphony

Listening Guide: Symphony no. 4, fourth movement, by Johannes Brahms

Antonín Dvořák

Featured Listening: From the New World, Symphony no. 9 in E Minor, fourth movement, by Antonín Dvořák

Other Late Romantics

Listening Guide: Symphony no. 1 in D Major, third movement, by Gustav Mahler

Chapter 24 Romantic Opera in France and Italy

French Opera

Italian Opera

Giuseppe Verdi

MusiCurious: Attending an Opera

Featured Listening: “O terra, addio” (“Oh Earth, Goodbye”) from Aida, by Giuseppe Verdi Giacomo Puccini

Listening Guide: “Sì, mi chiamano Mimì” (“Yes, They Call Me Mimi”) from La Bohème, by Giacomo Puccini

Hearing the Difference: Mozart’s “Non più andrai” and Puccini’s “Si, mi chiamano Mimì”

Chapter 25 Romantic German Opera

Richard Wagner

MusiCurious: Opera Productions

Featured Listening: “Grane, mein Ross!” (“Grane, my horse!”) and finale to Götterdämmerung from Der Ring des Nibelungen, by Richard Wagner

Characteristics of Romantic Music

Prelude: The Early Twentieth Century

Chapter 26 Impressionism and Symbolism

Claude Debussy

Featured Listening: Prélude à L’après-midi d’un faune (Prelude to The Afternoon of a Faun), by Claude Debussy

Maurice Ravel

Hearing the Difference: Smetana’s “The Moldau” and Debussy’s Prélude à L’après-midi d’un faune

Chapter 27 Primitivism and Neoclassicism


Igor Stravinsky

MusiCurious: Music for Ballet

Featured Listening: Le Sacre du printemps (The Rite of Spring), Introduction, “Auguries of Spring—Dances of the Young Girls,” and “The Ritual of Abduction,” by Igor Stravinsky


Listening Guide: Concerto in E-Flat Major, the Dumbarton Oaks Concerto, first movement, by Igor Stravinsky

Chapter 28 Eastern European Nationalism Béla Bartók

Featured Listening: Concerto for Orchestra, fourth movement, “Interrupted Intermezzo,” by Béla Bartók

Chapter 29 Germanic Expressionism and the Development of Serialism

MusiCurious: How is it Great Art if it is Ugly?

Arnold Schoenberg

Featured Listening: “Der Mondfleck” (“Moonfleck”), no. 18, from Pierrot Lunaire (Moonstruck Pierrot), by Arnold Schoenberg

Other Serial Composers

Listening Guide: Five Pieces for Orchestra, op. 10, third movement, by Anton Webern

Characteristics of Twentieth-Century Music (to World War II)

Prelude: American Innovations in the Arts 278

Chapter 30 American Music Before World War II

The Seventeenth Century

The Eighteenth Century

Featured Listening: “When Jesus Wept,” by William Billings

The Nineteenth Century

Listening Guide: “Jeanie with the Light Brown Hair,” by Stephen Foster

After the Civil War

Listening Guide: “Ah, Love, but a Day,” by Amy Beach

Canadian Music

Chapter 31 Early Jazz Styles

Origins of Jazz

Listening Guide: “Village Celebration,” by Mende Tribe of Sierra Leone


Listening Guide: “Maple Leaf Rag,” by Scott Joplin

The Blues

MusiCurious: Improvisation

Featured Listening: “Lost Your Head Blues,” by Bessie Smith

New Orleans Jazz

Swing Jazz

Hearing the Difference: Foster’s “Jeanie with the Light Brown Hair” and Smith’s “Lost Your Head Blues”

Listening Guide: “It Don’t Mean a Thing If It Ain’t Got That Swing,” by Duke Ellington

Chapter 32 Developments in Jazz in the Late Twentieth Century


Featured Listening: “Ko Ko,” by Charlie Parker Cool Jazz

MusiCurious: Attending A Jazz Concert

New Styles in the 1960s


Listening Guide: “Miles Runs the Voodoo Down” (beginning), by Miles Davis 308

Hearing the Difference: Parker’s “Ko Ko” and Davis’s “Miles Runs the Voodoo Down”

Chapter 33 American Classical Music Influenced by Early Jazz

George Gershwin

Listening Guide: Rhapsody in Blue, by George Gershwin William Grant Still

Featured Listening: Afro-American Symphony, first movement, by William Grant Still

Chapter 34 Twentieth-Century American Classical Styles

Charles Ives

Listening Guide: The Unanswered Question, by Charles Ives

Aaron Copland

Featured Listening: “Fanfare for the Common Man,” by Aaron Copland

Ellen Taaffe Zwilich

Listening Guide: Symphony no. 1, first movement, by Ellen Taaffe Zwilich

Hearing the Difference: Mozart’s Symphony no. 40, first movement, and Zwilich’s Symphony no. 1, first movement

Chapter 35 Musical Theater

Broadway Musicals

Leonard Bernstein

Featured Listening: “America” from West Side Story, by Leonard Bernstein

Later Musicals

MusiCurious: Musicals and Operas: Similar, but Different

Chapter 36 Film Music

The Earliest Film Music

Early Sound Films

Later Film Scoring Practices

Featured Listening: “Main Theme” from Star Wars, by John Williams

Trends in Movie Music

Characteristics of Music in America

Prelude: New Ideas and Styles from Twentieth-Century Internationalism 344

Chapter 37 World Musics

Musical Elements in Non-Western Musics

Pitch and Scale Systems




Music from Indonesia

Featured Listening: “Srepegan (slendro nim),” by Gamelan Ensemble

Music from China

Listening Guide: “Moonlight on the Ching Yang River,” by Yo Su-Nan

Music from India

Listening Guide: Folk Melody Based on Raga Des, by Baluji Shrivastav

Music from Africa

Ewe Drum Ensembles

Listening Guide: “Gadzo” (“Kayiboe, the Child Is Not Matured”), by Ewe of Ghana

Chapter 38 Post–World War II Innovations

Henry Cowell

Featured Listening: “The Banshee,” by Henry Cowell John Cage

Listening Guide: Sonata V from Sonatas and Interludes for Prepared Piano, by John Cage

Hearing the Difference: Wayang kulit Gamelan

Ensemble’s “Srepegan (slendro nim)” and Cage’s Sonata V

Electronic Music

Edgard Varèse

Listening Guide: “Poème électronique” (“Electronic Poem”), by Edgard Varèse

Terry Riley

Listening Guide: “In C,” by Terry Riley MusiCurious: Performing an Aleatoric Work

Chapter 39 Minimalism

Philip Glass

Featured Listening: Company, second movement, by Philip Glass

Hearing the Difference: Haydn’s String Quartet, fourth movement, and Glass’s Company, second movement

Steve Reich

Listening Guide: Electric Counterpoint, third movement, by Steve Reich

John Adams

Listening Guide: “Short Ride in a Fast Machine,” by John Adams

Characteristics of Non-Western-Influenced Music

Rock Music (McGraw-Hill Education Create)

Concert Report Forms (McGraw-Hill Education Create)

Chamber Music Concert

Choral Concert

Jazz Band


Orchestra of Wind Ensemble (Concert Band) Concert

Solo or Small Group Voice Concert

World Music(s) Concert

Glossary 379

Credits 387


Note: A chapter on Rock Music is available for free download on the OLC

About the Author

Katherine Charlton

Katherine Charlton Calkins teaches in the music department at Mt. San Antonio College where she spent eight years on the all-college general education committee and then served as chair of the music department for the following ten years. During a yearlong sabbatical in 2007-2008 she studied women composers and compiled biographies, recordings, and listening guides, which she made available to her colleagues to help them add more women to their music appreciation and history classes. As a performer, she has a degree in classical guitar from California State University at Fullerton. She toured in Southern France and Tuscany, playing lute with an early music group led by her late, first husband Andrew Charlton and his friend Gloria Ramsey, both well known in the field of early music. Calkins also played percussion and toured in Japan with the CSUF Wind Ensemble. She got her M.A. in music history and has continued with further graduate study in that same field. As a teacher, she started the guitar program at Mt. San Antonio College, where she continues to teach music history, music appreciation, and history of rock music. Her first book, Rock Music Styles: A History, is now out in its sixth edition, published by McGraw-Hill Higher Education. Experience Music is her second book.