a. b. c. d. e. f. g. h. i.

Listening Guide 2: Hildegard of Bingen, Alleluia, O virga mediatrix (Alleluia, O mediating branch), (late 12th century) (Page 79) Listening Guide 3: Notre Dame School, Gaude Maria virgo (Rejoice Mary, virgin) (Early 13th century) (Page 81) Listening Guide 4: Anonymous, Sumer is icumen in (Summer is come) (c. 1250) (Page 84) Listening Guide 5: Machaut, Puis quen oubli (Since I am forgotten) (mid-14th century) (Page 86) Listening Guide 6: Josquin, Ave Maria . . . virgo serena (Hail Mary . . . gentle virgin) (1480s) (Page 91) Listening Guide 7: Palestrina, Pope Marcellus Mass, Gloria (1567) (Page 94) Listening Guide 8: Arcadelt, Il bianco e dolce cigno (The white and sweet swan) (1538) (Page 98) Listening Guide 9: Farmer, Fair Phyllis (1599) (Page 100) Listening Guide 10: Susato, Three Dances (1551) (Page 101) i. Meter: duple ii. Loud, for outdoor music iii. Texture: polyphonic iv. Two phases are repeating

j.

Listening Guide 11: Purcell, Dido and Aeneas, Act III, excerpts (1689) (Page 116) i. Purcell: sailors chorus: 1. Tonality:Minor 2. Meter: Triple ii. Dido Lament: 1. small orchestra and continuo 2. Sad mood set by a. Chromatically descending cello line b. c. Simple melodic line Sparse instrumental accompaniment

3. Opening bass line is ground bass 4. Vocal range: Soprano k. Listening Guide 12: Amor dormiglione (Sleepyhead, Cupid!) (1651) (page 119) i. Opening meter: a lifting dancelike meter ii. Opening material returns and piece ends: ternary iii. Harmony: consonant with chromaticism iv. Basso continuo is bass lute v. Word painting l. Listening Guide 13: Bach, Cantata No. 140, Wachet auf (Sleepers, Awake), I and IV (1731) (Page 123) i. Chorale fantasia 1. Meter: insistent and marchlike 2. Instrumental section that returns is ritornello 3. Texture: polyphonic 4. Chorus with orchestra 5. Voice enters first as soprano

ii. Unision Chorale 1. Voice range: tenor 2. Texture: polyphonic 3. Texture sung chorale melody: unison 4. Instruments accompaniment: strings and basso continuo m. Listening Guide 14: Handel, Messiah, Nos. 18 and 44 (1742) (Page 128) i. 3dr section: Highly embellished ii. Middle section : shift to minor tonality iii. rejoice melismatic iv. Instrument used in the orchestra: Harp v. Soprano n. Listening Guide 15: Handel, Water Music, Suite in D major, alla hornpipe (1717) (Page 133) i. Shifts from minor key ii. Brass instruments iii. Quickly moving between two adjacent tones: trills iv. Ternery v. Meter: triple

o. Listening Guide 16: Mouret, Rondeau, from Suite de symphonies (1729) (Page 135)
p. Listening Guide 17: Vivaldi, Spring, from The Four Seasons (La primavera from Le quattro stagioni), Op. 8, No. 1, First Movement (1725) (Page 138) i. Mimicking birds: trills ii. Tempo allegro iii. Second statement dynamics are different iv. Opens in ritornello v. Depicting a thunderstorm with rain q. Listening Guide 18: Bach, Contrapunctus I, from The Art of Fugue (1749) (page 144) i. Texture: contrapuntal ii. Harmony: minor iii. Instrument:organ iv. Ranges in opening: alto, soprano v. Ends in closing major chord r. Listening Guide 19: Haydn, String Quartet, Op.76, No. 3, (Emperor), II (1797) (165) i. Theme changed by being played in cello ii. String quartet gets nicknamed by patriotic hymn played in violin iii. Tempo: adagio s. t. iv. Texture: polyphonic Listening Guide 20: Mozart, Eine kleine Nachtmusik (A Little Night Music), K. 525, First and Third Movements (1787) (page 168) i. 1st movement: 1. Homophonic 2. allegro ii. 2nd movement; 1. Tonality: major 2. Contour: conjunct 3. Meter: strong triple, beginning on an upbeat.

u. v.

Listening Guide 21: Haydn, Symphony No. 100 in G major (Military), Second Movement (1794) (Page 173) Listening Guide 22: Beethoven, Symphony No. 5 in C minor, Op. 67, (18078) (page

176) w. Listening Guide 23: Mozart, Piano Concerto in G major, K. 453, First Movement (1784) x. y. (Page 184) Listening Guide 24: Beethoven, Piano Sonata in C-sharp minor, Op. 27, No. 2, First Movement (Moonlight) (1801) (Page 187) Listening Guide 25: Mozart, Don Giovanni, Act I, Scene 2 (1787) (Page 193)

z. Listening Guide 26: Schubert: Elfking (1815) (Page 214) aa. Listening Guide 27: Robert Schumann, In the lovely month of May, from A Poets Love (Dichterliebe), No. 1 (1840) (Page 218) bb. Listening Guide 28: Chopin, Mazurka in B-flat minor, Op. 24, No. 4 (1833) (Page 223) cc. Listening Guide 29: Fanny Mendelssohn Hensel, September: At the River, from The Year (Das Jahr) (1841) (page 226) dd. Listening Guide 30: Foster, Jeanie with the Light Brown Hair (1854) (page 229) ee. Listening Guide 31: Berlioz, Symphonie fantastique, Fourth Movement (1830) (Page 233) ff. Listening Guide 32: Smetana, The Moldau (1874-79) (Page 238) gg. Listening Guide 33: Grieg, Peer Gynt, Suite No. 1, Op. 46, excerpts (187475) (Page 241) hh. ii. Listening Guide 34: Brahms, Symphony No. 3 in F major, Third Movement (1883) (page 248) jj. Listening Guide 35: Verdi, Rigoletto, Act III, excerpts (1851) (Page 255) kk. Listening Guide 36: Wagner, Die Walkre (The Valkyrie), Act III, opening (1856) (Page 263) ll.

mm.

Listening Guide 37: Verdi, Requiem, Libera me, excerpt (1874) (Page 270) Listening Guide 38: Tchaikovsky, The Nutcracker, Two Dances (1892) (Page 273) Listening Guide 39: Puccini, Un bel d, from Madame Butterfly, Act II (1904) (Page 277)