JOSEPH KERMAN LISTEN 7TH EDITION PDF

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LISTEN seventh edition joseph kerman University of California, Berkeley g a ry .. Transparency masters provide material from the textbook in convenient PDF. Listen, 7th Edition by Joseph Kerman and Gary Tomlinson PDF. Jonah Hemphill. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 LISTEN seventh edition joseph kerman University of California, Berkeley g a ry t o m l i n s o n University of Pennsylvania with vivian kerman b e d f o r d / s t.


Joseph Kerman Listen 7th Edition Pdf

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We think of these as improvements, of course — improvements in line with the many comments and reactions we have solicited from users and non-users alike. Much has happened since Listen, Sixth Edition, first came out. The intervening years have seen the rise of YouTube, Wikipedia, Facebook, texting, media players of ever-increasing ingenuity, and the streaming of music for educational purposes.

All these advances in communication and information retrieval have accompanied perhaps helped to produce a national mood ever less patient with the somewhat leisurely presentation that characterized earlier editions of Listen. We have done a good deal of rewriting to change the tone, though hardly the substance, throughout. From beginning to end, you will find this a leaner, more straightforward Listen.

The Fundamentals unit in particular has been reorganized to develop basic musical concepts in what seems to us now a more logical, orderly sequence. It begins with rhythm and meter and continues with pitch, dynamics, and tone color, pausing here to consider the musical instruments students will be listening to. Next comes melody, and only then are the more challenging issues of harmony, tonality, and modality raised. The introduction to music notation, not necessary for this unit or the course as a whole, has been moved to an appendix at the back of the ix x Preface book.

This presentation, we feel, allows instructors to pick and choose issues they want to highlight more easily without losing the logic of the presentation. As always, we have sought to improve the coverage of musical repertories at the heart of our enterprise. New selections by Machaut, Bach, Handel, and Verdi — not to mention an irresistible medieval Anonymous — aim to bring clearer and more accessible examples to students.

We also introduce Rameau dances, and we expand the coverage of Romantic opera with Puccini. But the real point of a good design is to make it both easy and inviting to find your way around in a book. Of necessity there is a lot of diverse material here, lots of bits and pieces — the main text, boxes and charts of different kinds, music, marginalia — but we have deliberately thinned out pages and spreads that looked too cluttered.

Many new illustrations make new points more clearly or make old points more freshly. What has not changed is our basic coverage and organization, which have proved solid over many editions. We show students how to listen to this work as an informal summary of fundamentals at the end of the unit.

The main emphasis of Listen is on the common-practice repertory, with a careful selection of more modern material and an optional but generous unit on pre-eighteenth-century music. Each summarizes features of the culture of the time, emphasizing those that stand in close relation to music.

The Prelude chapters also contain concise Preface xi accounts of the musical styles of the eras, so that these chapters furnish background of two kinds — cultural and stylistic — for listening to specific pieces of music in the chapters that follow.

Biography boxes segregate material on the lives of the major composers from discussions of their music — again, making the book easier to read and easier to work from. Next comes melody, and only then are the more challenging issues of harmony, tonality, and modality raised.

The introduction to music notation, not necessary for this unit or the course as a whole, has been moved to an appendix at the back of the ix x Preface book. This presentation, we feel, allows instructors to pick and choose issues they want to highlight more easily without losing the logic of the presentation. As always, we have sought to improve the coverage of musical repertories at the heart of our enterprise.

New selections by Machaut, Bach, Handel, and Verdi — not to mention an irresistible medieval Anonymous — aim to bring clearer and more accessible examples to students. We also introduce Rameau dances, and we expand the coverage of Romantic opera with Puccini. But the real point of a good design is to make it both easy and inviting to find your way around in a book.

Of necessity there is a lot of diverse material here, lots of bits and pieces — the main text, boxes and charts of different kinds, music, marginalia — but we have deliberately thinned out pages and spreads that looked too cluttered.

Many new illustrations make new points more clearly or make old points more freshly. What has not changed is our basic coverage and organization, which have proved solid over many editions. We show students how to listen to this work as an informal summary of fundamentals at the end of the unit. The main emphasis of Listen is on the common-practice repertory, with a careful selection of more modern material and an optional but generous unit on pre-eighteenth-century music.

Each summarizes features of the culture of the time, emphasizing those that stand in close relation to music. The Prelude chapters also contain concise Preface xi accounts of the musical styles of the eras, so that these chapters furnish background of two kinds — cultural and stylistic — for listening to specific pieces of music in the chapters that follow.

Biography boxes segregate material on the lives of the major composers from discussions of their music — again, making the book easier to read and easier to work from.

Time lines in Appendix A locate composers at a glance in relation to other important historical figures and events. Many instructors work out a special introductory session to break the ice and interest students in the subject matter of their course.

This Prelude page 4 is a specific suggestion for such an icebreaker — students can listen to a three-minute piece, the eventful orchestral Prelude to The Valkyrie, with a short commentary that will give them an idea of what the semester will be like. At this stage the emphasis is on direct impressions rather than on terminology, but some technical terms are introduced in passing, terms that will be presented formally in Unit I.

The Global Perspectives segment on sacred chant, for example, comes at the end of the Middle Ages chapter, where Gregorian chant has been discussed; African ostinato forms are exemplified after the early Baroque chapter; and a brief look at complex instrumental forms in Japanese and Indonesian traditions follows the eighteenth-century unit, with its examination of sonata form and other formal types in the Classical symphony.

We believe these materials broaden the coverage of Listen in a meaningful way, but we certainly do not offer them as a token survey of world musics. Three opera selections have accompanying video clips on the DVD.

We have always taken pride in seeking out the very best recordings of these selections available — subject, of course, to copyright constraints and the ever-shifting conditions of international media giants. New selections by Machaut, Bach, Handel, and Verdi — not to mention an irresistible medieval Anonymous — aim to bring clearer and more accessible examples to students.

Listen, 7th edition

We also introduce Rameau dances, and we expand the coverage of Romantic opera with Puccini. But the real point of a good design is to make it both easy and inviting to find your way around in a book.

Of necessity there is a lot of diverse material here, lots of bits and pieces — the main text, boxes and charts of different kinds, music, marginalia — but we have deliberately thinned out pages and spreads that looked too cluttered.

Many new illustrations make new points more clearly or make old points more freshly. What has not changed is our basic coverage and organization, which have proved solid over many editions. We show students how to listen to this work as an informal summary of fundamentals at the end of the unit. The main emphasis of Listen is on the common-practice repertory, with a careful selection of more modern material and an optional but generous unit on pre-eighteenth-century music.

Each summarizes features of the culture of the time, emphasizing those that stand in close relation to music. The Prelude chapters also contain concise Preface xi accounts of the musical styles of the eras, so that these chapters furnish background of two kinds — cultural and stylistic — for listening to specific pieces of music in the chapters that follow. Biography boxes segregate material on the lives of the major composers from discussions of their music — again, making the book easier to read and easier to work from.

Time lines in Appendix A locate composers at a glance in relation to other important historical figures and events. Many instructors work out a special introductory session to break the ice and interest students in the subject matter of their course. This Prelude page 4 is a specific suggestion for such an icebreaker — students can listen to a three-minute piece, the eventful orchestral Prelude to The Valkyrie, with a short commentary that will give them an idea of what the semester will be like.

At this stage the emphasis is on direct impressions rather than on terminology, but some technical terms are introduced in passing, terms that will be presented formally in Unit I. The Global Perspectives segment on sacred chant, for example, comes at the end of the Middle Ages chapter, where Gregorian chant has been discussed; African ostinato forms are exemplified after the early Baroque chapter; and a brief look at complex instrumental forms in Japanese and Indonesian traditions follows the eighteenth-century unit, with its examination of sonata form and other formal types in the Classical symphony.

We believe these materials broaden the coverage of Listen in a meaningful way, but we certainly do not offer them as a token survey of world musics. Three opera selections have accompanying video clips on the DVD.

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We have always taken pride in seeking out the very best recordings of these selections available — subject, of course, to copyright constraints and the ever-shifting conditions of international media giants.

The recordings of the selections appearing for the first time in this edition are listed on page x.

The charts for instrumental works all fit onto one page, visible at a glance, with concise descriptions and identifications. Interactive versions of many of the Listening Charts can be found on the companion Web site at bedfordstmartins. Listen is distinctive in its writing style and, related to that, in the sense it conveys of personal involvement with the music that is treated.The new selec- tions and the recordings we have chosen are as follows: These pitches are calibrated scientifcally European- style orchestras these days tune to a pitch with a frequency of cycles , given names that pitch is labeled A , and collected in scales.

Includes faster rhythms; the soloists play new themes and also play some of the motives from the ritornello.

These instructors will notice many changes in Listen, Seventh Edition. If the abstractness of recordings encourages us to really listen to music, and not treat it as a background to some other activity, some good will have come of it.

Listen, 7th edition

This is what teaching is about which is why technology will never replace live in- structors , and this is what we have always tried to do in Listen. The charts for instrumental works all ft onto one page, visible at a glance, with concise descriptions and identifcations. The manual also contains extra Listening Charts, translations for additional vocal music selections, a bibliography of print resources, and an index of musical examples from the Listen recordings to illustrate key terms and concepts from the book.

But one phrase broadens out to four measures, with a fne effect: A dissonant chord leaves a feeling of ex- pectation; it requires a consonant chord following it to complete the gesture and to make the music come to a point of stability.

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