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PROLOGUE: ANTIQUITY.
Music in the Biblical World. Ancient Greece. Music in the Roman Empire. The Musical Legacies of Antiquity.
I. THE MEDIEVAL ERA.
Prelude to Part I.
1. Plainchant and Secular Monophony.
The Emergence of Plainchant. The Elements of Plainchant. The Expansion of Plainchant. Secular Monophony.
2. Polyphony to 1300.
Organum. Clausula. Motet. Conductus. Mensural Notation.
3. Music in the 14th Century.
France: The Ars Nova. Italy: The Trecento. England. Instrumental Music.
II. MUSIC OF THE RENAISSANCE.
Prelude to Part II.
Renaissance Humanism. The Protestant Reformation. Renaissance Painting and Sculpture. Music in Renaissance Society.
4. The Emergence of Renaissance Style.
Consonance and Dissonance: Trusting the Ear. Sonority: The Contenance Angloise. Texture: Pervading Imitation. Josquin's Ave Maria...virgo serena and the Style of the Renaissance.
5. The Genres of Renaissance Music, 1420-1520.
Sacred Vocal Music. Secular Vocal Music. Instrumental Music.
6. Music in the 16th Century.
Secular Vocal Music. Sacred Vocal Music. Instrumental Music in the 16th Century. Mannerism.
III. THE BAROQUE ERA.
Prelude to Part III.
War, Revolution, and Colonial Expansion. The Scientific Revolution. The Musical Baroque.
7. The New Practice.
Searching for the Secrets of Ancient Greek Music. The Florentine Camerata. The Seconda Prattica. Music in the Baroque Era: A Stylistic Overview.
8. Vocal Music, 1600-1650.
Secular Song. Opera. Sacred Music.
9. Vocal Music, 1600-1750.
Opera. Sacred Music. Conceptions of the Compositional Process.
10. Instrumental Music, 1650-1750.
Instruments of the Baroque Era. Instrumental Genres of the Baroque Era.
IV. THE CLASSICAL ERA.
Prelude to Part IV.
The Age of Enlightenment. War and Revolution. The Industrial Revolution. Music in Enlightenment Society.
11. The Art of the Natural.
Music and the Idea of Nature. Music in the Classical Era: A Stylistic Overview. Style and Form in the Mid-18th Century.
12. Instrumental Music in the Classical Era.
The Language of Instrumental Music. Sonata. String Quartet. Cyclical Coherence. The Symphony. Concerto.
13. Vocal Music in the Classical Era.
The Rise of opera buffa. Opera Wars. Gluck and the Reform of Opera. Mozart and the Synthesis of Operatic Styles. Sacred Music. Song.
V. THE 19TH CENTURY.
Prelude to Part V.
Progress and Dislocation. Ideas and Ideologies. Reaction, Reform and Revolution. The Musical World of the 19th Century.
14. The Age of the Tone-Poet.
Romanticism and the New Prestige of Instrumental Music. The Composer as High Priest. Originality and Historical Self-Consciousness. The New Dichotomy of Absolute and Program Music. Nationalism and Music. The Growing Division Between “Serious” and “Popular” Music. Music in the 19th Century: A Stylistic Overview.
15. Orchestral Music, 1800-1850.
Bigger Halls, Bigger Audiences, and Louder Instruments. The Symphony. The Concert Overture. The Concerto.
16. Piano Music, Chamber Music, Song.
Beethoven's Piano Sonatas and String Quartets. Song. The Character Piece.
17. Dramatic and Sacred Music.
Opera. Operetta. Sacred Music.
18. Orchestral Music, 1850-1900.
Music for Dancing and Marching. Ballet. The Symphonic Poem. The Symphony.
VI. THE 20TH CENTURY.
Prelude to Part VI.
The Impact of Recorded Sound. Modernism: the Shock of the New.
19. The Growth of Pluralism.
Fragmentation versus Diversity. Past versus Present. Recorded versus Live Music. Authenticity. The Uses of Music in the 20th Century. Music in the 20th Century: A Stylistic Overview.
20. The Search for New Sounds: 1890-1940.
Impressionism. Challenges to Tonality. Primitivism. Ragtime, Jazz and Country Music. Nationalism. New Timbres.
21. Beyond Tonality.
Atonality. Serial Composition.
22. The Tonal Tradition.
Neo-Classicism and “The New Objectivity.” Orchestral Music. Film Music. Ballet. Chamber Music. Song. Musical Theater.
23. New Currents after 1945.
The Quest for Innovation. Combinatoriality. Integral Serialism. Aleatory Music. Electronic Music. Rock Music. Folk Music. Jazz. Minimalism. Postmodernism.
Epilogue: Music at the Beginning of the 21st Century.
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Joseph Canestraro
reviewed A Brief History of Music in Western Culture on August 31, 2011 A Brief History of Music in Western Culture
One amazing thing about this book is that it really changes the way you look at music videos. The best parts have to be the ones in which Vernallis elucidates the differences between a music video and a movie because it makes you realize how many, quite specific, aspects of music videos are taken for granted, from their editing to the lack of a narrative. Some chapters, however, are somewhat dragged out and certain analyses seem superfluous or they rely too heavily on the assumption that the reader is familiar with certain technical terms.
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