TEST BANK FOR The Enjoyment of Music 11th Ed By Forney and Machlis (Prepared By Alicia M. Doyle)

Chapter 1 | Introduction 1
Chapter 2 | Goals and Content 2
Chapter 3 | Approaches to Teaching 3
Historical/Chronological Approach 3
Biographical, or Great Composer, Approach 3
Listening Approach 4
Analysis Approach 4
Development of Styles Approach 4
Genre Approach 5
Multicultural Approach 5
Gender Equity Approach 5
Chapter 4 | Teaching Materials Available 6
Chapter 5 | The Course Plan 10
Chapter 6 | Planning an Exam Schedule 11
Chapter 7 | Other Assessments of Competence 15
Quizzes on Specialized Topics 15
Concert Reports 15
Special Activities and Listening Assignments 15
Chapter 8 | The Course Syllabus 17
Chapter 9 | Teaching Guide 19
Part 1: Materials of Music 20
Prelude 1: Listening to Music Today 20
Chapter 1: Melody: Musical Line 20
Chapter 2: Rhythm and Meter: Musical Time 22
Chapter 3: Harmony 23
Chapter 4: The Organization of Musical Sounds 24
Chapter 5: Musical Texture 26
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vi | Contents
Chapter 6: Form 27
Chapter 7: Musical Expression: Tempo and Dynamics 28
Chapter 8: Voices and Musical Instrument Families 29
Chapter 9: Western Musical Instruments 31
Chapter 10: Musical Ensembles 34
Chapter 11: Style and Function of Music in Society 36
Part 2: Medieval and Renaissance Music 38
Prelude 2: The Culture of the Middle Ages and Renaissance 38
Chapter 12: Sacred Music in the Middle Ages 39
Chapter 13: Secular Music in the Middle Ages 40
Chapter 14: Renaissance Sacred Music 41
Chapter 15: Renaissance Secular Music 42
Part 3: The Baroque Era 44
Prelude 3: The Baroque Spirit 44
Chapter 16: Baroque Opera and Its Components 45
Chapter 17: The Baroque Cantata and Oratorio 47
Chapter 18: Baroque Instruments and the Suite 48
Chapter 19: The Baroque Concerto 49
Chapter 20: Other Baroque Instrumental Music 49
Part 4: Eighteenth-Century Classicism 51
Prelude 4: Classicism in the Arts 51
Chapter 21: The Development of Classical Forms 52
Chapter 22: Classical Chamber Music 53
Chapter 23: The Classical Symphony 55
Chapter 24: The Classical Concerto 58
Chapter 25: The Sonata in the Classical Era 59
Chapter 26: Classical Choral Music and Opera 60
Part 5: The Nineteenth Century 62
Prelude 5: The Spirit of Romanticism 62
Chapter 27: Song in the Romantic Era 63
Chapter 28: Romantic Piano Music 65
Chapter 29: Music in Nineteenth-Century America 67
Chapter 30: Romantic Piano Music 68
Chapter 31: Absolute Music in the Nineteenth Century 71
Chapter 32: National Schools of Romantic Opera 73
Chapter 33: Late Romantic and Post-Romantic Music 76
Part 6: Impressionism and the Early Twentieth Century 79
Prelude 6: Modernism in the Arts 79
Chapter 34: Impressionism and Post-Impressionism 79
Chapter 35: Early Modern Musical Style 81
Chapter 36: Music of the Early Modernists 82
Chapter 37: European National Schools 85
Chapter 38: American Modernism in Music 87
Chapter 39: Nationalism in the Americas 89
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Contents | vii
Part 7: Music beyond the Concert Hall 91
Prelude 7: The Rise of American Popular Styles 91
Chapter 40: Ragtime, Blues, and Jazz 92
Chapter 41: Musical Theater 94
Chapter 42: Music for Films 95
Chapter 43: The Many Voices of Rock 97
Part 8: World War II and Beyond 99
Prelude 8: New Directions in the Arts 99
Chapter 44: The New Virtuosity in the Modern Age 100
Chapter 45: Contemporary Composers Look to World
Music 101
Chapter 46: Technology and Music 104
Chapter 47: Some Current Trends 105
Chapter 10 | General Resource Guide 108
Women and Music 108
Multicultural Music Guide 110
East Asia/Japan 111
East Asia/China 112
South Asia/India 112
Southeast Asia/Indonesia 113
Middle East/Turkey 114
Africa/Sub-Saharan Africa 114
Eastern Europe/Russia 115
Eastern Europe/Hungary/Romania/Bulgaria 116
Eastern Europe/Jewish Culture 116
Eastern Europe/Roma Culture 117
Western Europe/Spain 117
Americas/African American 117
Americas/British-American Traditional Music 118
Americas/Latin American 119
Americas/Native American 120
Wind Band Music in America 120
Revolutionary and Civil War Bands 121
French Military Bands 121
John Phillip Sousa 121
Paul Hindemith 122
William Schuman 122
Karel Husa 122
Michael Daugherty 122
Selected Wind Works by Other Composers 122
Chapter 11 | Answers to Study Guide Questions 125
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1
CHAPTER 1 Introduction
Having taught music appreciation at several institutions over
the last two decades, I have found that the course is consistently
a popular choice to fulfill a general education arts
requirement, as few people do not “appreciate” music on a
daily basis. Students come in confident in their understanding
of what they consider “good” music and what music they like
(and don’t like).
Appreciating art music, however, understandably demands
more formal guidance as this music has not been a part of
many students’ experience. Students often have little prior
knowledge of art music to build upon. Likewise, the body of
available music is so large and dynamic that making analogies
to popular music relevant to a majority of students in a
given classroom is very difficult. The first few weeks in a
music appreciation class are typically characterized by a
group of students who are united in their love of music but
struggling with the realization that they are going to be challenged
to learn some practical listening skills and examine a
body of music outside of their realm of experience. Initially,
this realization is often uncomfortable, but our goal as
instructors is of course to guide students toward a positive
relationship with complex music, a relationship that will
serve to enrich their education and hopefully last a lifetime.
In a music appreciation course, learning is not relegated to
the students alone, as the classroom is a wonderful place for
the instructor to learn about a diverse array of musics.
Moments of discovery are challenging and thrilling for all
involved, as opening minds (of professors as well as students!)
to a world of music is often the true goal in music
appreciation, a goal that extends beyond simply learning
about European art music. Particularly exciting is the moment
when a student recognizes that characteristics of a piece of
art music are also evident in her own favorite music. Witnessing
a group of students learn to hear in a more sophisticated
manner and have a deeper, richer relationship with music is
continuously fulfilling.
Since music appreciation is often intended for students
who are not music majors, in many cases it constitutes their
only formal exposure to the world of art music. However,
such a course may also serve as a general introduction for
aspiring music students, and it is generally followed by more
in-depth music history classes. Enrollments for music appreciation
understandably vary widely, from large lecture classes
of five hundred or more students to small discussion groups
of a handful of students. Regardless of the class size, this type
of course is invaluable, as it offers the opportunity to introduce
the enjoyment of music to vast numbers of students,
enriching their awareness and helping them understand their
musical tastes as well as their connection to our collective
cultural history.
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CHAPTER 2 Goals and Content
What should be the primary goal of a music appreciation
course? According to Joe Machlis, it should be to bring students
as far as possible along the road to being music lovers.
I believe this remains the most important goal. This aim can
be accomplished by a variety of means including a maximum
of listening exposure to all styles of music in the classroom,
focusing on the basic elements of music (melody, harmony,
rhythm, etc.), frequent required attendance at concerts, examination
of the relationship of music to the sociocultural environment
in which it was created, looking in depth at
patronage and politics and their effect on music or vice-versa,
investigating the lives and ideas of music’s leading creators,
the composers, or through some combination of all these
methods.
Other issues to address in designing course content are the
balance of popular and traditional music versus art music,
Western music versus world music, and music written or performed
by women versus music by men, and whether to follow
a chronological outline or to address music by genre,
geographical region, performing forces, or something else
altogether. If you have small enough class, you may have
the luxury to design the course around specific interests of
your students; in a large classroom this is less likely but still
possible.
This new edition of The Enjoyment of Music has been
designed to assist the instructor with these issues and to facilitate
an interactive learning experience. The various components
of the package are explained further in Chapter 4.
Overall, the text and its organization is streamlined and simplified
for easy consumption. Detailed information, such as
lists of compositions with dates and Listening Guide analyses,
with clear descriptions of “what to listen for” in terms of
the musical elements, is presented graphically. This arrangement
allows you flexibility in selecting the amount of detail
most appropriate for your classroom and for your individual
teaching style. The Eleventh Edition reflects our technological
culture as well, with easy-to-use multimedia resources.
For instructors, these include this online instructor’s manual
and the newly expanded Instructor’s Resource Discs with 143
musical excerpts, ready-to-use PowerPoint lecture slides for
each textbook chapter, and PowerPoint-ready Instruments of
the Orchestra videos. New videos of orchestral performances
are also included on the Instructor’s Resource Discs, and the
Norton Opera Sampler includes over two hours of video
excerpts of Metropolitan Opera performances.
The text is supported for students with StudySpace, a
multi layered online resource that enhances learning through
composer biographies, era overviews, chapter-by-chapter outlines,
quizzes, and more. In addition, students who purchase
a new text can access Norton iMusic streaming audio, Metropolitan
Opera videos, and Materials of Music Interactive.
For a small fee, students can also access streaming audio of
all the pieces found in the shorter Norton Recordings repertoire,
along with interactive listening guides.
Although many academic institutions now offer separate
classes in popular, traditional, film, and world music, the
movement to internationalize the general education curriculum
beyond a singularly Western focus has a strong footing
on many campuses. In this new edition, Kristine Forney is
sensitive to this increasingly global trend. Discussions of non-
Western musics are integrated throughout the book, and
included in the Materials of Music Interactive. The Teaching
Guide in this manual offers further resources to enhance these
subjects in your classroom. Furthermore, popular styles of
music—jazz, musical theater, film music, world music, traditional
music, hip-hop, and rock—are presented in some
detail throughout the text, with supporting music examples.
2
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3
Approaches CHAPTER 3 to Teaching
Depending on your particular style and interests, and the
goals you have set for your students (and perhaps institutionally
established objectives), there are many different tactics
for approaching and teaching music appreciation. The end
goal is, of course, the same: to create a lifelong love of music
supported by a sophisticated understanding of what is being
heard. The intended outcome is always enjoyment. With this
in mind, there are several ways in which one might approach
the material.
The chronological organization of The Enjoyment of Music
encourages a multidisciplinary view, relating the development
of music to parallel artistic and intellectual trends. In the text,
the prelude for each era focuses on these developments and
provides visual reinforcement in timelines. Each historical
era is also supported by an overview of historical themes,
musical context, and style in the StudySpace online at
wwnorton.com/enjoy.
Whether you as the instructor go through the text methodically
in chronological order or use the book as a “backstop”
against which you introduce ideas you have selected to focus
upon, the book and the ancillary materials are flexible
resources, designed to meet your needs. Below are a few
ideas of different approaches that have met with success in
the classroom.
HISTORICAL/CHRONOLOGICAL APPROACH
Probably the most common method for teaching a music
appreciation course is to start at the beginning and go to the
end. This approach allows for a simple and logical introduction
to the world of art music; it works especially well in traditional
lecture classes, in which interaction between the
student and the teacher is difficult. It also works well for an
introductory class for music majors. There are other merits
to this approach: since notated Western art music started out
simply, with one melody and no harmony, the gradual introduction
of terms and labeling of sounds at the beginning of a
course is easier for students unfamiliar with music and musical
terminology. As the music gets more complex through
history, so does the analysis. Progressively the student continues
to build on the foundation of the analytical structure
that has already been established. Some instructors may opt
to begin with the composers with whom students might have
some acquaintance—Haydn, Mozart, and Beethoven, for
example—and either go back later to pick up the first three
eras of Western art music or leave them out altogether. Some
choose to speed though the Middle Ages and Renaissance,
and then slacken the pace when they reach the Baroque era.
It is, of course, up to the instructor to choose where to begin
and where to stop. Other instructors have found that a complete
chronological approach works best, for many reasons.
For example, it is easier to teach the significance of the Dies
irae in Berlioz’s Symphonie fantastique if the students have
been exposed to Gregorian chant. As contemporary art music
becomes more eclectic and encyclopedic in nature, putting it
in the context of the entire history of Western art music is
often most beneficial.
BIOGRAPHICAL, OR GREAT COMPOSER,
APPROACH
The biographical approach works well for a class when the
objective is to produce students who will become informed
patrons of the arts. This approach also encourages classroom
discussion and a more interactive experience in classes with
smaller enrollments.
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4 | Chapter 3
The Enjoyment of Music has long been known for its informative,
highly readable biographies of the great masters of
Western art music that include memorable quotes and anecdotes
that students retain long after the course is completed.
The biographical information found in the text engages students,
allowing them to easily master the material on their
own, while providing a common framework for greater understanding
in the classroom. In the text, the principal works of
each composer are discussed and summarized for quick reference.
The instructor can use the outline of the composer’s
life to emphasize selected events and works and bring to light
the students’ shared humanity with the composers. The text
includes composers who have been deemed “the greats” (both
men and women) in the Western tradition; this approach will
prepare your students well for most classical concert settings.
StudySpace supports this approach with informative composer
biographies and other information. The iMusic examples
enhance this approach further by offering many pieces by
selected masters beyond the principal works available in the
CD set that accompanies the textbook.
LISTENING APPROACH
Perhaps the single most important teaching tool we have for
music appreciation is the actual listening experience, through
either recordings or live performances. Most music appreciation
students will be surprised to find that, in the middle of
a lecture, music is played! These experiences are often the
only exposure to Western art music that students have,
although they may also be familiar with some styles from
sampling in hip-hop and other popular musics, film scores,
and video game music.
A major goal of a listening-based approach is to help the
students become active listeners. This is no small task given
that we, as a sound culture, are bombarded with noise constantly,
and we have developed, culturally, skills to tune out
music subconsciously. Technology is helpful to this listening-
centered approach as portable audio devices are varied
and omnipresent. Additionally, today’s digital natives are well
versed in compiling and manipulating audio files.
A listening-centered approach to the material works best
with a smaller class in which interaction with live music and
performers is manageable, however I have witnessed success
using this approach in a large lecture as well. Recordings are
convenient teaching tools because you can easily highlight
specific moments and replay them for clarity. Of course,
nothing can replace a live performance, and if possible, students
should get to see and hear art music performed live by
high-quality performers. In-class demonstration by music students
is often quite successful and the peer-to-peer dialog that
takes place