| Introduction |
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1 | (4) |
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1 | (1) |
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2 | (1) |
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2 | (1) |
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3 | (1) |
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4 | (1) |
| Part I: Getting Started with Classical Music |
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5 | (106) |
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Chapter 1 Prying Open the Classical Music Oyster |
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7 | (6) |
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Discovering What Classical Music Really Is |
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7 | (1) |
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Figuring Out Whether You Like It |
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8 | (1) |
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The Seven Habits of Highly Effective Composers |
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9 | (4) |
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Their music is from the heart |
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9 | (1) |
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They use a structure that you can feel |
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9 | (1) |
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They're creative and original |
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10 | (1) |
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They express a relevant human emotion |
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10 | (1) |
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They keep your attention with variety and pacing |
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11 | (1) |
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Their music is easy to remember |
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11 | (1) |
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They move you with their creations |
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12 | (1) |
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Chapter 2 The Entire History of Music in 80 Pages |
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13 | (78) |
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Understanding How Classical Music Got Started |
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13 | (1) |
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Chanting All Day: The Middle Ages |
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14 | (2) |
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14 | (1) |
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15 | (1) |
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15 | (1) |
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Born Again: The Renaissance |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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Getting Emotional: The Baroque Era |
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17 | (9) |
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18 | (1) |
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Kings, churches, and other high rollers |
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18 | (1) |
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19 | (2) |
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21 | (3) |
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24 | (2) |
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Tightening the Corset: The Classical Style |
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26 | (16) |
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26 | (3) |
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29 | (4) |
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Ludwig van Beethoven: The man who changed everything |
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33 | (4) |
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37 | (3) |
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40 | (2) |
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Falling in Love: Hopeless Romantics |
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42 | (19) |
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43 | (1) |
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44 | (3) |
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47 | (2) |
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49 | (2) |
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51 | (2) |
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The superstars: Paganini and Liszt |
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53 | (2) |
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Liszt follows Paganini's lead |
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55 | (1) |
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55 | (2) |
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57 | (4) |
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Saluting the Flag(s): Nationalism in Classical Music |
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61 | (14) |
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62 | (1) |
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63 | (2) |
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65 | (1) |
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66 | (1) |
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67 | (2) |
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Glinka and the Mighty Fistful |
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69 | (2) |
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71 | (2) |
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73 | (2) |
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Listening to Music of the 20th Century and Beyond |
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75 | (16) |
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75 | (3) |
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78 | (3) |
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81 | (1) |
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81 | (2) |
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The Second Viennese School |
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83 | (2) |
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85 | (6) |
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Chapter 3 Knowing How to Spot a Sonata |
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91 | (20) |
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91 | (4) |
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First movement: brisk and lively |
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92 | (1) |
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Second movement: slow and lyrical |
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93 | (1) |
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93 | (1) |
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94 | (1) |
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95 | (1) |
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95 | (3) |
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96 | (1) |
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97 | (1) |
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98 | (2) |
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Serenades and Divertimentos |
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100 | (1) |
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101 | (1) |
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101 | (1) |
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Tone Poems (Or Symphonic Poems) |
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102 | (1) |
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103 | (2) |
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103 | (1) |
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104 | (1) |
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Oratorios and Other Choral Works |
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105 | (1) |
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Operas, Operettas, and Arias |
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105 | (1) |
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106 | (1) |
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106 | (2) |
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String Quartets and Other Motley Assortments |
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108 | (1) |
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Why Do You Need a Form, Anyway? |
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109 | (2) |
| Part II Listen Up! |
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111 | (66) |
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Chapter 4 Dave 'n' Scott's E-Z Concert Survival Guide |
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113 | (24) |
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113 | (1) |
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Knowing When to Arrive at the Concert |
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114 | (1) |
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Can I Wear a Loincloth to The Rite of Spring? |
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115 | (1) |
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The Gourmet Guide to Pre-Concert Dining |
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115 | (1) |
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Figuring Out Where to Sit - and How to Get the Best Ticket Deals |
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116 | (2) |
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To Clap or Not to Clap: That Is the Question |
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118 | (2) |
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118 | (1) |
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More on the insane "no-clap" policy |
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119 | (1) |
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Who to Bring and Who to Leave at Home with the Dog |
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120 | (1) |
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Recognizing Which Concerts to Attend - or Avoid - on a Date |
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121 | (1) |
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Peeking at the Concert Program |
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122 | (5) |
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The typical concert format |
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123 | (2) |
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125 | (1) |
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A different kind of program |
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126 | (1) |
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Introducing the Concertmaster |
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127 | (3) |
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128 | (1) |
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Twisting and turning, pulling and pushing |
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128 | (2) |
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130 | (7) |
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Understanding interpretation |
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131 | (2) |
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133 | (1) |
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Reading the job description |
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134 | (3) |
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Chapter 5 For Your Listening Pleasure |
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137 | (22) |
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1 Handel: Water Music Suite No. 2: Alla Hornpipe |
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138 | (1) |
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2 Bach: Well-Tempered Clavier, Book 2: Prelude and Fugue in C Major |
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139 | (2) |
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3 Mozart: Piano Concerto No. 22 in E-Flat, Third Movement |
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141 | (4) |
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4 Beethoven: Symphony No. 5, First Movement |
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145 | (3) |
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145 | (1) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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5 Brahms: Symphony No. 4, Third Movement |
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148 | (3) |
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6 Dvoilk: Serenade for Strings, Fourth Movement |
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151 | (1) |
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7 Tchaikovsky: Symphony No. 6, Fourth Movement |
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152 | (2) |
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8 Debussy: La Mer: Dialogue du Vent et de la Mer |
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154 | (2) |
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9 Stravinsky: The Rite of Spring: Opening to the End of Jeu de Rapt |
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156 | (3) |
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157 | (1) |
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Danses des adolescentes (Dances of the Adolescent Girls) |
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158 | (1) |
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Jeu de rapt (Ritual of Abduction) |
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158 | (1) |
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Intermission: Taking a Backstage Tour |
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159 | (18) |
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Living in the Orchestral Fishpond |
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159 | (1) |
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160 | (1) |
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Going through an Audition |
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161 | (8) |
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161 | (1) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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165 | (1) |
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166 | (1) |
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166 | (1) |
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167 | (1) |
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168 | (1) |
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The Life of an Orchestra Musician, or What's Going on in the Practice Room? |
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169 | (1) |
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170 | (2) |
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Understanding Contract Riders |
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172 | (1) |
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Eyeing the Strange and Perilous Relationship between an Orchestra and Its Conductor |
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173 | (3) |
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Why an Orchestra Career Is Worth the Grief |
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176 | (1) |
| Part III: A Field Guide to the Orchestra |
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177 | (70) |
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Chapter 6 Keyboards & Co. |
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179 | (12) |
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179 | (6) |
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179 | (1) |
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180 | (1) |
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181 | (1) |
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181 | (1) |
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182 | (1) |
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182 | (2) |
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184 | (1) |
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185 | (2) |
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Winning the Baroque gold medal |
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185 | (1) |
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186 | (1) |
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187 | (2) |
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188 | (1) |
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188 | (1) |
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189 | (2) |
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Chapter 7 Strings Attached |
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191 | (18) |
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192 | (5) |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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195 | (1) |
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The unbearable lightness of bowing |
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195 | (1) |
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196 | (1) |
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197 | (1) |
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The Other String Instruments |
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197 | (12) |
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198 | (1) |
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199 | (2) |
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201 | (2) |
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203 | (2) |
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205 | (4) |
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Chapter 8 Gone with the Woodwinds |
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209 | (14) |
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210 | (2) |
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Making music out of thin air |
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211 | (1) |
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211 | (1) |
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212 | (1) |
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213 | (3) |
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215 | (1) |
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215 | (1) |
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216 | (1) |
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216 | (3) |
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217 | (1) |
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218 | (1) |
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219 | (1) |
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220 | (3) |
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Chapter 9 The Top (and Bottom) Brass |
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223 | (12) |
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Making a Sound on a Brass Instrument |
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224 | (1) |
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225 | (2) |
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Hunting for notes: The natural horn |
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225 | (1) |
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Adding valves: The modern, treacherous horn |
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226 | (1) |
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227 | (1) |
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227 | (3) |
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228 | (1) |
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229 | (1) |
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229 | (1) |
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230 | (2) |
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231 | (1) |
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232 | (1) |
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232 | (2) |
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232 | (1) |
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233 | (1) |
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Pet Peeves of the Brassily Inclined |
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234 | (1) |
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Chapter 10 Percussion's Greatest Hits |
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235 | (12) |
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236 | (2) |
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237 | (1) |
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238 | (1) |
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238 | (1) |
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238 | (1) |
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239 | (1) |
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240 | (1) |
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Other Xylo-like Instruments |
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241 | (1) |
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More Neat Instruments Worth Banging |
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241 | (8) |
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241 | (2) |
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243 | (1) |
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244 | (1) |
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244 | (1) |
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245 | (1) |
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245 | (1) |
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246 | (1) |
| Part IV: Peeking into the Composer's Brain |
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247 | (50) |
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Chapter 11 The Dreaded Music Theory
Chapter |
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249 | (40) |
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I've Got Rhythm: The Engine of Music |
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250 | (8) |
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250 | (1) |
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251 | (1) |
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Sight-reading for the first time |
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252 | (1) |
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253 | (1) |
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254 | (1) |
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255 | (1) |
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256 | (2) |
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Understanding Pitch: Beethoven at 5,000 rpm |
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258 | (13) |
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Performing an experiment for the betterment of mankind |
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258 | (1) |
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259 | (1) |
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260 | (9) |
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Dave 'n' Scott's 99.9999% Key-Determining Method |
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269 | (1) |
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Understanding why we have keys |
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270 | (1) |
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Making the Leap into Intervals |
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271 | (9) |
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271 | (1) |
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272 | (1) |
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273 | (1) |
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274 | (1) |
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274 | (1) |
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275 | (1) |
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275 | (1) |
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Telling the difference: major and minor intervals |
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276 | (1) |
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276 | (1) |
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277 | (1) |
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The minor fifth (not!) - aka the tritone |
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278 | (1) |
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278 | (1) |
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279 | (1) |
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280 | (1) |
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281 | (1) |
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Getting Two-Dimensional: Piece and Harmony |
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282 | (4) |
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Major, minor, and insignificant chords |
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283 | (1) |
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Friends and relations: harmonic progressions |
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284 | (1) |
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Friends, Romans, chord progressions |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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Getting Your Music Theory Degree |
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287 | (2) |
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Chapter 12 Once More, with Feeling: Tempo, Dynamics, and Orchestration |
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289 | (8) |
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Meet the Dynamics Duo: Soft and Loud |
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290 | (3) |
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Honey, I shrunk the LoudSoft |
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291 | (1) |
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291 | (1) |
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Getting into matters of sonic taste |
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292 | (1) |
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293 | (1) |
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Telling 'Bones from Heckelphones: Orchestration Made Easy |
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294 | (5) |
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Playing with sound colors |
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294 | (1) |
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294 | (1) |
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294 | (3) |
| Part V: The Part of Tens |
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297 | (28) |
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Chapter 13 The Ten Most Common Misconceptions about Classical Music |
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299 | (6) |
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Classical Music Is Boring |
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299 | (1) |
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Classical Music Is for Snobs |
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300 | (1) |
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Ail Modern Concert Music Is Hard to Listen to |
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300 | (1) |
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They Don't Write Classical Music Anymore |
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301 | (1) |
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You Have to Dress Up to Go to the Symphony |
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301 | (1) |
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If You Haven't Heard of the Guest Artist, She Can't Be Any Good |
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301 | (1) |
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Professional Musicians Have It Easy |
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302 | (1) |
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The Best Seats Are Down Front |
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302 | (1) |
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Clapping between Movements Is Illegal, Immoral, and Fattening |
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303 | (1) |
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Classical Music Can't Change Your Life |
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303 | (2) |
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Chapter 14 The Ten Best Musical Terms for Cocktail Parties |
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305 | (6) |
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306 | (1) |
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306 | (1) |
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306 | (1) |
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307 | (1) |
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307 | (1) |
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307 | (1) |
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307 | (1) |
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307 | (1) |
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308 | (1) |
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308 | (1) |
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308 | (1) |
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Using Your New-Found Mastery |
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308 | (3) |
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Chapter 15 Ten Great Classical Music Jokes |
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311 | (6) |
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311 | (1) |
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The Heavenly Philharmonic |
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311 | (1) |
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312 | (1) |
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312 | (1) |
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313 | (1) |
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313 | (1) |
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313 | (1) |
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314 | (1) |
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314 | (1) |
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314 | (3) |
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Chapter 16 Ten Ways to Get More Music in Your Life |
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317 | (8) |
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Get Involved with Your Orchestra |
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317 | (1) |
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Join a Classical Music Tour |
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318 | (1) |
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Meet the Artists - Be a Groupie |
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318 | (1) |
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Load Up on Free or Cheapo Recordings |
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319 | (1) |
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Make Music Friends on the Internet |
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320 | (1) |
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Join an Unlimited Music Service |
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320 | (1) |
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Listen to Your Local Classical Station |
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321 | (1) |
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Watch Classical Music Movies |
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322 | (1) |
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323 | (1) |
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323 | (2) |
| Part VI: The Appendices |
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325 | (22) |
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Appendix A: Starting a Classical Music Collection |
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327 | (6) |
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327 | (1) |
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List 2: MILD on the Taste Meter |
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328 | (1) |
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List 3: MEDIUM on the Taste Meter |
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329 | (1) |
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List 4: MEDIUM HOT on the Taste Meter |
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330 | (1) |
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List 5: HOT on the Taste Meter |
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331 | (2) |
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Appendix B: Classical Music Timeline |
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333 | (8) |
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341 | (6) |
| Index |
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347 | |
