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The Enjoyment of
MUSIC
SHORTER VERSION
Tw e l f t h E d i t i o n
EJM12e_FM_A-B_i-xxxii_4PP.indd 1 8/28/14 7:05 PM

CONTENTS ix
Eighteenth-Century Classicism PART 4
PRELUDE 4 Music as Order and Logic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Classicism and Enlightenment Culture ■ Classicism in Music ■
Interface: Science, Philosophy, and Music in the Age of Enlightenment ■
The Patronage System
CHAPTER 28 Musical Conversations: Haydn and Classical

Chamber Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Expanding Musical Ideas ■ Classical Forms ■ The Second Movement:
Theme and Variations ■ LG 18 Haydn: String Quartet, Op. 76, No. 3 (Emperor), II
CHAPTER 29 The Ultimate Instrument: Haydn and the

Symphony.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
The Classical Orchestra ■ The Second Movement: A B A9 ■ LG 19 Haydn:
Symphony No. 100 in G Major (Military), II
CHAPTER 30 Expanding the Conversation: Mozart, Chamber

Music, and Larger Forms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
The First Movement: S onata-Allegro Form ■ The Third Movement:
Minuet-and-Trio Form ■ LG 20 Mozart: Eine kleine Nachtmusik, I and III
Encounter: North Indian Classical Music 172
CHAPTER 31 Conversation with a Leader: The Classical

Concerto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Movements of the Classical Concerto ■ Mozart and the Piano Concerto ■
LG 21 Mozart: Piano Concerto in G Major, K. 453, I
CHAPTER 32 Personalizing the Conversation: Beethoven and

the Classical Sonata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
The Sonata in the Classical Era ■ LG 22 Beethoven: Piano Sonata in C
-sharp
Minor, Op. 27, No. 2 (Moonlight), I

x CONTENTS
CHAPTER 33 Disrupting the Conversation: Beethoven and

the Symphony in Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Beethoven’s Symphonies ■ Interface: Beethoven and the Politics of Music ■
LG 23 Beethoven: Symphony No. 5 in C Minor
CHAPTER 34 Making It Real: Mozart and Classical Opera. . . . . . . . . . . . . . . . . . 187

Classical Opera ■ LG 24 Mozart: Don Giovanni, Act I, scene 2
CHAPTER 35 Mourning a Hero: Mozart and the Requiem. . . . . . . . . . . . . . . . . . . 193

Sacred Music in the Classical Era ■ LG 25 Mozart: Dies irae, from Requiem
A Comparison of Classical and Romantic Styles 197
PART 5 The Nineteenth Century
PRELUDE 5 Music as Passion and Individualism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

An Age of Revolutions ■ Romanticism in Music
CHAPTER 36 Musical Reading: Schubert, Schumann, and the

Early Romantic Lied. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
The Lied ■ Schubert and the Lied ■ Schumann and the Song Cycle ■ LG 26
Schubert: Elfking ■ LG 27 Schumann: In the Lovely Month of May, from
A Poet’s Love
CHAPTER 37 Marketing Music: Foster and Early “Popular” Song.. . . . . 213

Stephen Foster, Parlor Song, and Minstrelsy ■ LG 28 Foster: Jeanie with the
Light Brown Hair
CHAPTER 38 Dancing at the Keyboard: Chopin and Romantic

Piano Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
The Nineteenth-Century Piano ■ The Short Lyric Piano Piece ■ LG 29 Chopin:
Mazurka in B
-flat Minor, Op. 24, No. 4

CONTENTS xi
CHAPTER 39 Musical Diaries: Hensel and Programmatic

Piano Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
ineteenth-Century Society ■ Interface: Music, Gender,
Women and Music in N
and Domesticity ■ LG 30 Hensel: September: At the River, from The Year
CHAPTER 40 Piano Triumphant: Gottschalk and

Romantic Virtuosity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Pianos in Public: Virtuosity and the Recital ■ Gottschalk: Composer for the
Americas ■ LG 31 Gottschalk: The Banjo
CHAPTER 41 Personal Soundtracks: Berlioz and the

Program Symphony. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Romantic Program Music ■ Interface: Musical Instruments and New
Technologies ■ LG 32 Berlioz: Symphonie fantastique, IV
CHAPTER 42 Sounding a Nation: Grieg and Orchestral

Nationalism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Varieties of Orchestral Program Music ■ Musical Nationalism ■ LG 33 Grieg:
Peer Gynt, Suite No. 1, excerpts
CHAPTER 43 Absolutely Classic: Brahms and the

Nineteenth-Century Symphony.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Absolute Music in the Romantic Era ■ LG 34 Brahms: Symphony No. 3
in F Major, III
CHAPTER 44 Multimedia Hits: Verdi and Italian Romantic

Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Women and N ineteenth-Century Opera ■ Verdi and Italian Opera ■
LG 35 Verdi: Rigoletto, Act III, excerpts

Encounter: Chinese Opera 254
CHAPTER 45 Total Art: Wagner and German Romantic Opera. . . . . . . . 256

Wagner and German Musical Theater ■ LG 36 Wagner: Die Walküre, Act III,
Opening and Finale
CHAPTER 46 Poetry in Motion: Tchaikovsky and the Ballet.. . . . . . . . . . . . . . 262

The Ballet ■ Tchaikovsky and The Nutcracker ■ LG 37 Tchaikovsky:
The Nutcracker, Two Dances

xii CONTENTS
CHAPTER 47 Exotic Allure: Puccini and the Italian

Verismo Tradition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
ost-Romanticism ■ Puccini and Verismo Opera
P ■ LG 38 Puccini: Madame
Butterfly, “Un bel dì”
Encounter: Japanese Music 271
CHAPTER 48 Accepting Death: Fauré and the Requiem.. . . . . . . . . . . . . . . . . . . . 272

Fauré and Late French Romanticism ■ LG 39 Fauré: Libera me, from Requiem
CHAPTER 49 Mythical Impressions: Program Music at the End

of the Nineteenth Century. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Symbolism and Impressionism in Paris ■ Translating Impressions into Sound
■ Interface: Music, World Colonization, and the Exotic ■ LG 40 Debussy:
Prelude to “The Afternoon of a Faun”
CHAPTER 50 Jubilees and Jubilation: The African American

Spiritual Tradition.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Spirituals and the Jubilee Tradition ■ Spirituals and the A
rt-Song Tradition ■
LG 41 Swing Low, Sweet Chariot
CHAPTER 51 A Good Beat: American Vernacular Music

at the Close of an Era.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
John Philip Sousa and the Band Tradition ■ Scott Joplin and Ragtime ■
LG 42 Joplin: Maple Leaf Rag
A Comparison of Romantic, Impressionist, and

Early T
wentieth-Century Styles 291
PART 6 Twentieth-Century Modernism
PRELUDE 6 Making Music Modern.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Modernisms ■ Features of Early Musical Modernism

CONTENTS xiii
CHAPTER 52 Anything Goes: Schoenberg and

Musical Expressionism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
The Emancipation of Dissonance ■ Schoenberg and Atonality ■ LG 43
Schoenberg: Pierrot lunaire, No. 18
CHAPTER 53 Calculated Shock: Stravinsky and

Modernist Multimedia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
The Rite of Spring: Collaborative Multimedia ■ LG 44 Stravinsky:
The Rite of Spring, Part I, excerpts
CHAPTER 54 Still Sacred: Religious Music in the Twentieth

Century.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
ost-Impressionism, Lili Boulanger, and the Prix de Rome ■ Interface:
P
The Consummate Pedagogue ■ LG 45 Boulanger: Psalm 24
CHAPTER 55 War Is Hell: Berg and Expressionist Opera. . . . . . . . . . . . . . . . . . . . 315

The Second Viennese School and the T
welve-Tone Method ■ Alban Berg and
Wozzeck ■ LG 46 Berg: Wozzeck, Act III, scene 4
CHAPTER 56 American Intersections: Jazz and Blues Traditions. . . . . 321

Roots of Jazz and Blues ■ The Jazz Singer Billie Holiday ■ Duke Ellington and
the Swing Era ■ Bebop, Cool, Latin Jazz ■ LG 47 Holiday: Billie’s Blues ■
LG 48 Strayhorn: Take the A Train
CHAPTER 57 Modern America: Still and Musical Modernism

in the United States. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
The Harlem Renaissance ■ Interface: Identity and the Arts in the Harlem
Renaissance ■ LG 49 Still: Suite for Violin and Piano, III
CHAPTER 58 Folk Opera? Gershwin and Jazz as “Art”.. . . . . . . . . . . . . . . . . . . . . . 333

“Cultivated Jazz” ■ LG 50 Gershwin: Summertime, from Porgy and Bess
CHAPTER 59 Sounds American: Ives, Copland, and

Musical Nationalism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Ives and New England Modernism ■ Copland and the American Orchestral
Landscape ■ LG 51 Ives: Country Band March ■ LG 52 Copland:
Appalachian Spring, excerpts
Encounter: American Folk Traditions 342

xiv CONTENTS
CHAPTER 60 Also American: Revueltas and Mexican

Musical Modernism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Musical Traditions of Mexico ■ Silvestre Revueltas: “Mestizo Realist” ■
LG 53 Revueltas: Homage to Federico García Lorca, III

Encounter: Musical Traditions in Mexico 350
CHAPTER 61 Classic Rethinking: Bartók and the

“Neo-Classical” Turn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Neo-Classicism ■ Modernist Nationalism ■ Bartók and the Eastern European
Tradition ■ Interface: Anthropology and Traditional Music ■ LG 54 Bartók:
Interrupted Intermezzo, from Concerto for Orchestra
Postmodernism: The Twentieth

PART 7
Century and Beyond
PRELUDE 7 Beyond Modernism?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

The Postmodern Turn ■ Music in a Postmodern World
Encounter: Music Technology 366
CHAPTER 62 New Sound Palettes: Mid-Twentieth-Century

American Experimentalists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Early Experiments ■ The Music of John Cage ■ George Crumb and A vant-
Garde Virtuosity LG 55 Cage: Sonata V, from Sonatas and Interludes ■
■
LG 56 Crumb: Caballito negro

Encounter: Javanese Gamelan 374
CHAPTER 63 Staged Sentiment: Bernstein and American

Musical Theater. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Musical Theater in North America ■ Leonard Bernstein and West Side Story ■
Interface: Music as Literature ■ LG 57 Bernstein: West Side Story, excerpts
CHAPTER 64 Less Is More: Reich and Minimalist Music. . . . . . . . . . . . . . . . . . . . . 384

From Twelve-Tone to Process and Phase ■ LG 58 Reich: Electric Counterpoint, III
Encounter: East African Drumming 388

CONTENTS xv
CHAPTER 65 Returning with Interest: Dylan, Corigliano, and

Postmodern Reworkings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Bob Dylan as S
inger-Songwriter ■ John Corigliano and the Contemporary Song
Cycle ■ LG 59 Dylan: Mr. Tambourine Man ■ LG 60 Corigliano: Prelude,
from Mr. Tambourine Man
CHAPTER 66 Neo-Romantic Evocations: Higdon and

wenty-First Century. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Program Music into the T
A New Romanticism? ■ LG 61 Higdon: blue cathedral, excerpt
CHAPTER 67 Underscoring Meaning: Music for Film.. . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Sound and Film ■ John Williams: Star Wars and Beyond ■ LG 62 Williams:
Imperial March, from The Empire Strikes Back ■ Tan Dun: Blending East and
West ■ LG 63 Tan Dun: Farewell, from Crouching Tiger, Hidden Dragon
Encounter: Video Games 408
CHAPTER 68 Icons in Sound: Tavener and Postmodern

Orthodoxy.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Spiritual Minimalism ■ Tavener and Greek Orthodoxy ■ LG 64 Tavener:
A Hymn to the Mother of God
CHAPTER 69 Reality Shows: Adams and Contemporary Opera. . . . . . . . 414

John Adams and P ost-Minimalism ■ LG 65 Adams: Doctor Atomic,
“At the sight of this”
Appendix I Musical Notation A-1

Appendix II Glossary A-5
Credits A-20
Index A-24

Online Video and Listening Examples
Video
Orchestra and Chamber Music Metropolitan Opera
Bach: Contrapunctus I, from The Art of Fugue Adams: Doctor Atomic, excerpts
(string quartet) Berg: Wozzeck, Act III, excerpts
Beethoven: Symphony No. 5 in C Minor, I Bizet: Habanera, from Carmen
Britten: The Young Person’s Guide to the Orchestra Mozart: Don Giovanni, Act I, excerpts
Handel: “Rejoice greatly” and “Hallelujah Chorus,” Puccini: “Un bel di,” from Madame Butterfly
from Messiah
Verdi: Rigoletto, Act III, excerpts
Mozart:
Eine kleine Nachtmusik, I Wagner: Die Walküre, Act III, excerpts
Piano Concerto in G Major, K. 453, I
Sousa: Washington Post March (wind band)
Tchaikovsky:
Dance of the Sugar Plum Fairy and Trepak, from
The Nutcracker
Symphony No. 5 in E Minor, III
Telemann: Tafelmusik, selections (Baroque orchestra)
Listening Examples
Adams: “At the sight of this,” from Doctor Atomic Pathétique Sonata, II
Adhan: Call to Prayer and Blessings on the Prophet Symphony No. 5, I
(Islamic chant) Symphony No. 9, IV (“Ode to Joy”)
Amazing Grace (traditional hymn, UK) Berg: Wozzeck, Act I, scene 1
America (patriotic song) Berlioz: Symphonie fantastique, I (idée fixe)
Avaz of Bayate Esfahan (Iran) Bernstein: Tonight, from West Side Story
Bhimpalasi (North India)
Bach, J. S.:
Bizet: Toreador Song, from Carmen
Contrapunctus I, from The Art of Fugue
Contrapunctus I theme (original, inversion, Brahms:
retrograde, retrograde inversion, Lullaby (Wiegenlied)
augmentation, diminution) Symphony No. 4, IV
Brandenburg Concerto No. 1, I Chopin:
Cantata No. 56, “Endlich, endlich wird mein Joch” Prelude in A Minor, Op. 28, No. 2
Jesu, Joy of Man’s Desiring Prelude in E Minor, Op. 29, No. 4
Minuet in D Minor
El Cihualteco (Mexico, mariachi song)
(from Anna Magdalena Bach Notebook)
Sarabande, from Cello Suite No. 2 Debussy: Jeux de vagues, from La mer
Toccata in D Minor Dougla Dance (Trinidad)
Battle Cry of Freedom
Echigo Jishi ( Japan)
Battle Hymn of the Republic (Civil War song)
Ensiriba ya munange Katego (East African drumming)
Beethoven:
Für Elise Er quan ying yue (The Moon Reflected on the Second
Moonlight Sonata, I Springs, China)
xvii

xviii ONLINE VIDEO AND LISTENING EXAMPLES
Foster: Piano Sonata, K. 331, III

Camptown Races Symphony No. 35, II
Massa’s in the Cold, Cold Ground Symphony No. 40, III
Oh! Susannah Musorgsky: The Great Gate of Kiev, from Pictures
at an Exhibition
The Girl I Left Behind Me
My Bonnie Lies over the Ocean (folk song)
Gota (Ghana, West Africa)
Go to Berwick, Johnny (traditional, Great Britain) O Canada (national anthem)
Greensleeves (folk song, UK) Orff: O fortuna, from Carmina burana
Grieg: Åse’s Death and In the Hall of the Mountain King, Osain (Cuban Santería)
from Peer Gynt
Pachelbel: Canon in D
Handel: Pop Goes the Weasel (traditional, UK)
Messiah: “Hallelujah Chorus” Purcell: Rondeau, from Abdelazar
“O thou that tellest good tidings”
“Rejoice greatly” Ravel: Boléro
Water Music, Alla hornpipe Reicha: Woodwind Quintet, Op. 88, No. 2
Haydn: Rossini: Overture to William Tell
Emperor Quartet, II Row, Row, Row Your Boat (traditional, U.S.)
Symphony No. 94 (Surprise), II
Symphony No. 100 (Military), II Schoenberg: Pierrot lunaire, No. 18
Hildegard of Bingen: Kyrie Schubert:
The Miller and the Brook,
If I Had a Hammer (Pete Seeger) from The Lovely Maid of the Mill
In a Mountain Path (China) Trout Quintet, IV
Los Jilicatas (Peru, panpipes) Schumann: In the Lovely Month of May,
from A Poet’s Love
Joplin: Pine Apple Rag
Simple Gifts (Shaker hymn)
Josquin: Inviolata, integra et casta es Maria
Smetana: The Moldau
Jota Navarra (Spain)
Sousa: The Stars and Stripes Forever
Joy to the World (Christmas carol)
The Star-Spangled Banner (U.S. national anthem)
Lassus: Bon jour mon coeur The Story of the Red Lantern (China)
Ligeti: Lux aeterna Stravinsky: The Rite of Spring, Introduction
Marching Through Georgia Swing Low, Sweet Chariot (African American spiritual)
Mbira (Zimbabwe) Tabuh Kenilu Sawik (Indonesia)
Mendelssohn: Tavener: A Hymn to the Mother of God
Spring Song, Op. 62, No. 6 Tchaikovsky: March and Waltz of the Flowers,
Symphony No. 4 (Italian), IV from The Nutcracker
Messiaen: Turangilîla-symphonie
Monteverdi: Lament of the Nymph Verdi: Dies irae, from Requiem
Mouret: Rondeau, from Suite de symphonies Vivaldi:
Concerto in C Major for 2 Trumpets, I
Mozart:
Spring (La primavera), from The Seasons, I
Ah! vous dirai-je Maman
(Twinkle, Twinkle, Little Star) Wagner: Ride of the Valkyries, from Die Walküre
Clarinet Concerto, K. 662, II Webern: Variations for Orchestra, Op. 30
Confutatis, from Requiem When the Saints Go Marching In (traditional, U.S.)
Eine kleine Nachtmusik, I and III
Horn Concerto, K. 447, III Yankee Doodle
Piano Concerto, K. 467, II

Scottish dance music
Traditional American songs
Go to Berwick, Johnny
Simple Gifts
When the Saints Go Marching In
Row, Row, Row Your Boat Beijing opera
My Bonnie Lies over the Ocean The Story of the Red Lantern
Yankee Doodle Traditional songs (United Kingdom)
Amazing Grace
Pop Goes the Weasel
Greensleves
Chinese erhu music
Er quan ying yue
(The Moon Reflected on the Second Springs)
Canadian national anthem
O Canada
African American
spiritual Islamic call to prayer Chinese orchestra Kabuki dance (Japan)
Swing Low, Sweet Chariot Adhan In a Mountain Path Echigo jishi
Iranian music
Avaz of Bayate Esfahan
North Europe Asia

America
Africa
South
America
Australia
Steel drums (Trinidad)

Dougla Dance Gamelan (Sumatran)
Tabuh Kenilu Sawik
Mariachi ensemble (Mexico) Music from Ghana
El Cihualteco Gota
Villancico (Mexico)
Tleycantino
North Indian Classical music
Cuban Santería music Bhimpalasi
Osain Gamelan (Javanese)
Patalon
East African drumming
Peruvian panpipes Ensiriba ya munange Katego
Los Jilicatas
Music from Zimbabwe

Mbira

PREFACE
The Enjoyment of Music is a classic—it’s been around for more than half a century.
Its contents and pedagogical approach have been constantly updated to offer an
exceptionally appealing listening repertory and the latest scholarship, integrated
with unparalleled media resources every step of the way.
There is much that is new about this 12th edition. First, the book, while
chronological by historical eras, is modular, with short chapters containing one
or, at most, two works. These make for easier reading and will help you master
the material more quickly. And the language aims to be direct and engaging, with
comments focused toward you, the student.
Also new to this edition are Your Turn to Explore boxes at the end of each
chapter, encouraging you to explore a work, genre, or style’s relevance across his-
torical, popular, and worldwide traditions; Encounter boxes that introduce a selec-
tion from n on-Western, popular, or traditional music; and Interface boxes that
make connections between music and other subjects you may be studying. You’ll
see these items described below, along with
the other main features in the text and
online. Understanding all these resources
will greatly enhance your listening, help Chapter 50
with study skills, and improve performance
in class.
Jubilees and Jubilation:
The African American
Using the Book Spiritual Tradition
“In the Negro melodies of America I discover all that
The Enjoyment of Music, 12th edition, is is needed for a great and noble school of music.”
—Antonín Dvor̆ák
designed to help you discover for yourself
the joy of studying music, with appealing KEY POINTS
musical selections and compelling and con- ● In the early 1800s, Americans of all backgrounds ● Spirituals such as Swing Low, Sweet Chariot were
came together in camp meetings to sing songs of popularized by choral groups from African Ameri-
temporary topics presented in clear prose. worship. can colleges in the late 1800s and were arranged
as art songs in the early 1900s. They have served
● In their own meetings, black slaves and freedmen
developed a semi-improvised tradition of sacred as the basis for other elaborations ever since.
songs known as spirituals.
● A varied repertory broadly represents

classical masters, including women
composers and living composers, as
F rom the United States’ earliest decades, immigrants from all lands (includ-
ing the involuntary immigrants brought to North America through slavery)
have intersected here, sharing their cultures and musical practices. While in
some cases racial and ethnic segregation were obstacles to musicians’ performing
together, in others they were a starting point for musical exchange. The mixtures
well as jazz, musical theater, film music, of traditions that characterize the American musical landscape today have direct
popular and traditional music, and n on- parallels in past centuries, especially in the rise of sacred songs known as spirituals.
Western styles.
Spirituals and the Jubilee Tradition
● Key Points, at the beginning of each
At the turn of the 1800s, a Christian movement known as the Second Great Awak-
chapter, briefly summarize the terms Camp meeting ening was sweeping the young United States. In camp meetings, lasting days or
even weeks, African Americans (freedmen and slaves) and European Americans
and main ideas in that chapter. alike gathered to sing hymns of praise, to popular or folk tunes of the time. Blacks
Ring shout also brought the tradition of the ring shout, developed by the slaves from African
● Marginal sideheads and boldface type traditions into an extended call and response that built to a religious fervor. White
church leaders noted that some in their community were modifying their own
identify key terms defined in the text and worship after witnessing these inspirational practices.
focus attention on important concepts. In separate camp meetings organized by slaves, the tradition of the spiritual
crystallized as both a way of worship and a subversive political endeavor, with
coded messages about earthly escape concealed in texts that promised heavenly
282
xxi

xxii
318 Preface
PART 6TWENTIETH-CENTURY MODERNISM
The final scene opens with a symphonic interlude in D minor, a passionate21

The OrganizaTiOn Of Musical sOunds Chapter 4
lament for the life and death of Wozzeck that shows how richly Berg’s music
was influenced by the final vestiges of Romanticism. The scene takes place in the
In His Own Words morning in front of Marie’s house, where children are playing. Marie’s son rides
● Icons direct you to the relevant
Glo-ry,I decided
When glory!to a hobbyhorse.
Hallelu-jah! Other children
Glo-ry, glory! rush in with
Halle- news of the murder, but the little boy
lu-jah!
write an
I opera, my only does not understand—
IV or at least appears not
Battle Hymn of the Republic
I to. The children run off as he contin-
online resources:
intentions . . . were to give ues to ride and sing. Then, noticing that he has been left alone, he calls “Hop, hop” Listening Examples (short
Glo-ry,whatglory!
the theater and ridesHis
belongs Hallelu-jah! offtruth
after themis on his hobbyhorse.
marching on. This final scene—with the curtain
to theI theater. . . . The closing on an IVempty stage—Vis utterly heartbreaking. clips from traditional, world,
I
music was to be so formed Wozzeck envelops the listener in a hallucinated world that could only have and classical selections) and
as consciously to fulfill its come from central Europe in the 1920s. But its characters reach out beyond
time and place to become eternal symbols of the human condition, and espe-
recordings are represented by a
duty of serving the action
atThe
every Key
moment.”as a Form- Building
cially Element
of the struggle of disenfranchised people—poor, mentally disabled, and headphone icon.
The three main —Alban Bergof awar-
chords torn—
musical within societies
work—tonic that turn their
(I), dominant backsubdom-
(V), and on them. Videos (operas and instrumental
inant (IV)—are the foundations over which melodies and harmonic progressions
works streamed online) are
unfold. Thus, a piece’s key becomes a prime factor for musical unity.
LISTENING
At the sameGUIDE 46 between keys adds welcome variety. Composers
time, contrast 4:44 represented by a video icon.
begin by establishing the home key (for example, C major), then change to a
Berg: Wozzeck, Act III, scene 4
related key, perhaps the dominant (G major), through a process known as mod- Modulation
ulation. In so doing, they create tension, because the dominant key is unstable
compared with the tonic. This tension requires resolution, which is provided by
DATE: 1922
the return to the home key.
The
GENRE:progression, or movement,
Opera, in three acts from home key to contrasting key and back
outlines the basic musical pattern of statement-departure-return. The home key
BASIS: Expressionist play by Georg Büchner
provides unity; the foreign key ensures variety and contrast.
CHARACTERS:
The twelve Wozzeck,
majora and
soldier (baritone)
twelve minor keys may be compared Captain (tenor)in a
to rooms
house, with Marie, his common-law
the modulations wife (soprano)
equivalent to corridors leading fromDoctor
one to (bass)
the other.
Marie and Wozzeck’s son (treble) Drum Major (tenor)
A composer establishes the home key, then shapes the passage of modulation (the
“corridor”)
Act III, scene into4:a By
keytheareapond
that is not far away from the starting point. Alternately,
composers may take an entire work and transpose it to a new key (making a trans- transposition
position). This is convenient when a song’s original key is too high or low to sing
orWhat
playtoeasily.
Listen You
For could begin on a different pitch and shift all the other pitches a
uniform
Melody distance. In this
Use of way, the (speechlike
Sprechstimme same songmelody);
can be sung in various keys
Expression by differing
Intensely emotional vocal line, supported
voice ranges (soprano, alto, tenor, or bass).
disjunct line. by dissonance and surging dynamics.
Although Movement
Rhythm/
we are not always between
alternates conscious of and
metric key centers
Timbre
and chord progres-
Eerie mood created by a celeste and
sions
meterwhile listening to music, these basic principles are deeply ingrained
free-flowing. in our
unusual instrument combinations;
responses. We perceive and react to the tension and resolution provided
152 colorful
by the
PARTorchestral effects.
4 EIGHTEENTH-CENTURY CLASSICISM
Harmony of Both
movement tonal and
harmony, andatonal
we canlanguage; dissonant
sense how composers have used the harmonic Listening activity
system to giveand chromatic.
a coherent shape and meaning to their works. Musical scales and key
Wozzeck
0:00 YOUR TURNWoTO
Das Messer? EXPLORE
ist das Messer? Ich The knife? Where is the knife?
● hab’s dagelassen. Näher, noch näher.
Interface
Many
Mirclassic
graut’srock
boxes
. . . dasongs
Science, Philosophy, and Music in
I left it there. Around here somewhere.
are built on only three essential chords, i (tonic), iV (sub-
regt sich was. I’m terrified . . . something’s moving.
help Alles you
still undmake the Age of Enlightenment
dominant), and V (dominant)—the strong active and rest chords. locate a recording
Still! tot. Silence. Everything silent and dead.
of the rolling stones’ 19th Nervous Breakdown, and see if you can hear the fairly
interdisciplinary
straightforward harmonic changes between these(shouting)
three chords. now
In a select
major aintellectual
later and cultural part in this effort to amass learning:
rock- pop selection
Mörder!(alternative or heavy metal, for example)Murderer!
and listen to the chord century looked to-
connections,
Mörder! linking
structure. do you perceive that it’s more complex, with additional
shift,Murderer!
the
chords?
eighteenth
is the
Rousseau (also a composer) published
(whispering again) ward the advancement of knowledge a comprehensive dictionary of musical
sensemusic tobase
of a home other
more studies
ambiguous? how does the harmony affect
throughthereason
listener?and science. Among terms; Jean-Philippe Rameau wrote an
Ha! Da ruft’s. Nein, ich selbst. Ah! Someone called. No, it was only me.
you may undertake those who spearheaded change were important music theory treatise; and
the philosopher Voltaire and the phys- in 1776, the Englishman Charles Bur-
(including science, icist who developed the laws of gravi- ney penned the first music history text
technology, philosophy, ty, Isaac Newton. These thinkers em- (the ancestor of your textbook), which
braced a new philosophy that sought sought to record all knowledge about
religion, politics, history, to understand all things according to musicians and their works.
literature, and more). nature and mathematics rather than re- Some of the most celebrated tech-
ligion. Scholars arduously collected in- nological achievements were con-
formation to increase the overall body nected to music: for example, “music A glass armonica from Boston, c. 1830.
of knowledge, and society in general boxes” with rotating cylinders and
embraced a focus on learning. One re- other mechanical means of plucking ments with electricity and his diverse
sult was the great French Encyclopédie, strings or striking metal plates when inventions, including the lightning
a thirty-five-volume reference source wound up. (Many of these musical rod, bifocal glasses, the Franklin stove,
purporting to systematize all knowl- machines were created by clock mak- and the glass armonica—a musical in-
edge, written by the leading intellec- ers, who were making tremendous strument made of tuned water glass-
tuals of the day, including Voltaire and technological strides in miniaturizing es, for which both Mozart and Beetho-
Jean-Jacques Rousseau. Musicians took time-keeping devices in the 1700s.) ven composed works. Franklin was a
Some musical machines, known as musician himself (he played harp and
automata, were made to resemble guitar), and he wrote a treatise on mu-
humans: a life-size human flute play- sical aesthetics, in which he espoused
er played twelve separate melodies, a philosophy of simplicity in melody
and there’s a famous automaton, now and harmony.
in the museum of Art and History in We can easily relate the Enlighten-
Neuchâtel, Switzerland, of a woman ment’s goals of reasoned thought and
playing an organ, pressing the keys simplicity to the music we are studying
of the instrument with her fingers. from this period. Both the individual
While the “robotic” performer’s bodi- musical elements—melody, rhythm,
ly movements may seem less convinc- and harmony—and the overall struc-
ing to us in an age of sophisticated tures are designed to embody a clarity,
CGI animation, they were certainly balance, and logic new to composi-
among the most humanlike mechan- tion. This was truly intended as a “uni-
ical actions that had ever been seen at versally understandable” language of
the time, and they demonstrated the sound, and it is partly because of this
power of human ingenuity. quasi-scientific clarity that many still
Across the Atlantic, the statesman point to the music of the Classical era
and scientist Benjamin Franklin was as the most straightforward pathway
An automaton of a mandolin player, built by central to the American Enlighten- into understanding the musical logic
P. Gaultier (eighteenth century). ment through his scientific experi- of the European tradition.

Preface xxiii
● Encounter boxes present

ENCOUNTER
extended discussion
and listening guides for
North Indian Classical Music repertories outside the
Euro-American “art” music
W tradition, including n
on-
e have seen how musical often accompanied by a performer music by apprenticing to master play-
structures were expanded who plays a complex rhythmic cycle ers, who pass their performance tech-
and developed in the Clas- (tala, meaning “clap”) with a small set niques down to the next generation via Western and popular styles
sical era, so that a single of hand drums called tabla. A typical an oral tradition. Ravi Shankar taught
movement of a symphony or a con- Indian classical piece can take up to his daughter Anoushka this way, and that have relevance to the
certo might take fifteen minutes or
more to perform. Still, we can expect
several hours to play; our selection,
however, is a mere twelve minutes.
she has herself become a great sitar art-
ist. Shankar in fact introduced Indian
main repertory.
that its sections will be marked by pre- Indian audiences understand that Raga classical music to the Western world,
dictable patterns of either repetition Bhimpalsi is performed in the after- inspiring a genre of “raga-rock” in the
(or variation) or new material. Similar noon—at the height of the day’s heat— 1960s and 70s. He gave a memorable
processes take place in the music of and it projects a mood of tenderness performance at the original Wood-
other cultures, although the end result and longing. stock Festival in August 1969, and the
is quite different. A case in point is The raga provides the pitches for the Beatles employed sitar on their record-
North Indian classical music, a centu- highly ornamented melody, and its tala ings. Beatle George Harrison even
ries-old performance tradition linked is an additive rhythmic cycle of four- studied sitar with Shankar and collabo-
to Hinduism and its deities. This teen; you can hear Shankar explain rated on projects with him, thus ensur-
musical style is based not on entirely both the raga and tala in a brief demon- ing broad international visibility for
fixed musical works, but rather on stration at the beginning. Harmony is the Indian master. A fortuitous exam-
long-standing traditional repertories not really a part of this music, except ple of the Eastern and Western worlds
of motives and themes elaborated by for what’s produced by the striking of of music colliding.
expert performers. Rather than featur- strings that sound drones (sustained
ing a key center, each semi-improvised pitches). As in a sonata-allegro form, Raga Bhimpalasi
elaboration introduces a raga, a series we can expect the work to play out in
of pitches that also projects a partic- sections; but while there is a general What to listen for:
ular mood and an association with a outline to the overall structure, impro- ● Improvised melodic elaborations by
certain time of day. visation plays a key role throughout. the sitar on a series of pitches.
We will consider Raga Bhimpalasi, As the performance progresses, the ● Raga in its ascending and descend-
performed by the venerable Indian tempo gradually accelerates to an ing form.
musician Ravi Shankar (1920–2012), extended climax, with dazzling pas- ● Complex rhythmic accompaniment
who plays a sitar, a long-necked sagework on the sitar accompanied by on the tabla (2 + 4 + 4 + 4).
plucked string instrument with metal animated rhythms on the tabla. The introductory section (alap) is
strings and gourd resonators. He is Indian musicians learn to play this slow and unmetered, played by the sitar
alone; the pitches of the raga are estab-
lished in this improvisatory section.
The second section (gat) begins with
the entrance of the tabla, which sets up
the rhythmic cycle (tala). With the third
section (jhala), the tempo speeds up and
the interplay between the instruments
becomes more complex.
Composer and sitar player Ravi Shankar,
performing here with his daughter Anoushka,
was the most renowned and honored figure
in Indian classical music of the twentieth
century. ● Composer biographies
are set off from the
172
text’s narrative for quick
reference, along with a list
of each composer’s major
306 PART 6 TWENTIETH-CENTURY MODERNISM
works by genre.
Igor Stravinsky (1882–1971)

Born in Russia, Stravinsky grew up in the primitivism of The Rite of Spring to the controlled Clas-
a musical environment and studied sicism of his mature style (Symphony of Psalms), and finally
composition with Nikolai Rimsky- to the twelve-tone method of his late works (Agon). In his
Korsakov. His music attracted the ballets, which are strongly nationalistic, Stravinsky invigo-
attention of impressario Serge Diaghi- rated rhythm, creating a sense of furious and powerful
lev, who commissioned him to write a movement. His lustrous orchestrations are so clear that, as
series of ballets (The Firebird, Petrushka, Diaghilev remarked, “one can see through [them] with
The Rite of Spring) that launched the young composer to one’s ears.”
fame. The premiere of The Rite of Spring in 1913 was one of
the most scandalous in music history. Just a year later, how- MAJOR WORKS: Orchestral music, including Symphonies
ever, when presented at a symphony concert, it was received of Wind Instruments (1920) and Symphony in Three Movements
with enthusiasm and deemed a masterpiece. When war (1945) • Ballets, including L’oiseau de feu (The Firebird, 1910),
broke out in 1914, Stravinsky took refuge first in Switzerland Petrushka (1911), Le sacre du printemps (The Rite of Spring,
and then in France. With the onset of the Second World 1913), Agon (1957) • Operas, including Oedipus Rex (1927) •
War, he decided to settle his family in Los Angeles; he Other theater works, including L’histoire du soldat (The Sol-
became an American citizen in 1945. His later concert tours dier’s Tale, 1918) • Choral music, including Symphony of
around the world made him the most celebrated figure in Psalms (1930) and Threni: Lamentations of the Prophet Jere-
twentieth-century music. He died in New York in 1971. miah (1958) • Chamber music • Piano music • Songs.
Stravinsky’s musical style evolved throughout his
career, from the post-Impressionism of The Firebird and The Rite of Spring, Introduction
The most innovative and influential element of The Rite of Spring is the ener-
getic interaction between rhythm and meter. In some scenes, a steady pulse is set
up, only to serve as a backdrop for unpredictable accents or melodic entrances. In
other passages, the concept of a regular metric pulse is totally abandoned as down-
beats occur seemingly at random. With this ballet, Stravinsky freed Western music
from the traditional constraints of metric regularity.
The Kirov Ballet performs “The The Introduction’s writhing bassoon melody, played in its uppermost range,
Glorification of the Chosen One” depicts the awakening of the Earth in spring (LG 44). The Dance of the Youths and
from Stravinsky’s Rite of Spring, Maidens then erupts with a series of violent chords, with unpredictable accents
with costumes and choreog-
that veil any clear sense of meter. These dissonant chords alternate with folklike
EJM12e_FM_A-B_i-xxxii_4PP.indd 23 raphy reconstructed from the 8/28/14 7:06 PM
original production. melodies, as the music builds to a loud, densely tex-
mber of innovations. One was the use of a quick, another colorful military effect. Haydn, as well as Mozart
rising from low to high register with such speed and Beethoven, knew of these new instruments from the
ocket theme.” Equally important was the use of Turkish Janissary bands that performed in Vienna; after
mes referred to as a steamroller effect), slowly gath- many centuries of wars between the Austrian Hapsburg
max. Finally, composers added a dance movement, Empire and the powerful Ottoman Empire, cultural
exchanges between these political domains allowed
Western Europeans the opportunity to hear, and adopt,
these exotic sounds. The Main Hall of the Eszterházy
xxiv Preface
chestra Palace in Hungary, where the
music master Haydn spent his
ed the orchestra as we know it today: an ensemble

The Second Movement: A-B-A9 summer months along with the
court (eighteenth century).
es. The heart of the orchestra was the string family. Haydn’s Military Symphony features a memorable second movement (LG 19) that
colors and assisted the strings, often doubling them. combines the concept of variations with a simple three-part, or ternary, structure
onies and contributed body to the sound, while the In His Own Words that can be diagrammed as A-B-A9. The graceful opening theme is heard in vari-
● In His/Her Own Words offer
and vitality. The eighteenth-century orchestra num- Can you see the ous guises that alter the timbre and harmony throughout. We are startled by the
ers; thus, the volume of sound was still more appro- relevant
sudden quotes
change to thethroughout
minor mode in the middle section, and also struck by the
notes behave like waves?
ncert hall. (We will hear a movement from Haydn’s Up and down they go! from composers
trumpet and important
fanfare and drum roll that introduce the closing coda. The movement
nth-century period instruments.) Look, you can also see historical
ends figures. fortissimo climax.
with a victorious
d a dynamic style of orchestral writing in which all the mountains. You have As you listen to the contrasting melodies and timbres of this movement, think
ctively and each timbre could be heard. The inter- to amuse yourself some- again about the notion of conversation that we explored in Chapter 28. What can
e various instrumental groups assumed the excite- times after being serious Haydn “tell” you when he has so many more sonic resources at his disposal?
in this, the Classical symphony also resembled the so long.”
—Joseph Haydn
CrItICaL thINKING
1. What contributions did haydn make to the genre of the symphony?
No. 100 (Military) 2. how is this second movement similar to the second movement of the haydn
ell over 100 symphonies to At thethe end establish-
genre, of each chapter: quartet examined in Chapter 28? how is it different?
ure and earning himself the ● nickname “father

Critical Thinkingof questions raise
rks in the genre are his last set of 12, the so-called
issues for further study. YOUR TURN TO EXPLORE
● Your Turn to Explore boxes offer look for (ideally video) recordings of large instrumental ensembles from several var-
ied traditions—Western orchestras, but also (for example) gamelan ensembles from
suggestions for students’ independent
indonesia, a Vietnamese nha nhac performance, a big-band jazz group. how does
investigation of the issues raised the range/variety of timbres differ from ensemble to ensemble? how is each similar
in that chapter, whether within or to and different from a Western orchestra?
beyond the confines of the course.
BAROQUE ERA
Events Composers and Works

Death of Elizabeth I. 1603
Gaspar Fernandes appointed
1600 1567–1643 Claudio Monteverdi (operas and madrigals)
1602–c. 1676 Chiara Margarita Cozzolani (Magnificat)
choirmaster at Puebla Cathedral. 1606
King Natural hornsof
James Version (without valves)
the Bible printed. 1611
andexplains
Dr. William Harvey woodwinds are seen in
the circulatory this 1628
system. ● Timelines, placed
painting of a small orchestra per-
Bay Psalm Book printed in Massachusetts. 1628
forming in an eighteenth-century at the beginning
Period ofVenetian palace.begins in England. 1649
Commonwealth
of each Part
Opener, provide
a chronological
orientation for
John Milton’s Paradise Lost published. 1667
1650 1659–1695 Henry Purcell (Dido and Aeneas) composers as well
French court of Louis XIV established at Versailles. 1682 1678–1741 Antonio Vivaldi (The Four Seasons) as world events and
Sir Isaac Newton’s theory of gravitation published. 1687 1685–1750 Johann Sebastian Bach (Cantata Wachet auf;
The Art of Fugue) principal literary
1685–1759 George Frideric Handel (Water Music; Messiah) and historical
figures.
1700 1746–1800 William Billings (David’s Lamentation)
Reign of Louis XV begins. 1715

John Gay’s Beggar’s Opera performed. 1728
George Washington born. 1732
J. S. Bach’s Art of Fugue published. 1751

1750
100

Preface xxv
168 PART 4 EIGHTEENTH-CENTURY CLASSICISM
Summary of Sonata-Allegro Form

l. Exposition (Statement) 2. Development 3. Recapitulation (Restatement)
Slow introduction (optional).

● Maps located throughout the
book reinforce the location and
First theme (or theme group) and First theme (or theme group) and
its expansion in the tonic.
Builds up tension against the
return to the tonic by
its expansion in the tonic. names of composers associated
(a) frequent modulation to with major musical centers.
Bridge—modulates to a
foreign keys, and
(b) the fragmentation and Bridge (rarely modulates).
A world map is found at the
contrasting key. manipulation of themes
and motives.
back of the book, with detail
on Europe, the United States,
Second theme (or theme Second theme (or theme group) and Canada. World music
group) and its expansion in a and its expansion transposed
contrasting key. to the tonic. examples from the online
Listening Examples are indexed
on a world map on p. xviii.
Closing theme, cadence in a Transition back to the tonic. Closing theme, cadence
contrasting key. in the tonic.
● Colorful charts visually
reinforce concepts presented in
(Exposition repeated.) Coda, cadence in the tonic.
the text.
= tonic key = dominant key = modulating = foreign keys
The features of sonata-allegro form, summed up in the chart above, are present
5
in one shape or another in many movements, yet no two pieces are exactly alike.
for infinite variety in the hands of the composer.

● Color-coded Materials
Prelude
What might at first appear to be a fixed plan actually provides a supple framework
Let us examine how Mozart deploys sonata-allegro form in the first movement
of Music chapters inNachtmusik
of Eine kleine Part (LG 20). The movement opens with a strong, marchlike
theme that rapidly ascends to its peak (an example of a “rocket theme”), then turns
1 match thedownward
colors atinthe same rate. Mozart balances this idea with an elegant descending
the “What to Listen
second For”
theme. The closing theme exudes a high energy level, moving the work Music as Passion
sections of into
eachits short development; and the recapitulation brings back all the themes, end-
Listening
Guide.
ing with a vigorous coda.
and Individualism
The Third
● Comprehensive PreludesMovement: Minuet-and-Trio Form “Music, of all the liberal arts, has the greatest
in each partInintroduce
the Classical his-
instrumental cycle, the third movement is almost invariably
influenceaover the passions.”
minuet and trio. The minuet was originally a Baroque court dance whose stately
torical erastriple
in their cultural
(3/4) meter embodied the ideal of an aristocratic age. Since dance music
—Napoleon Bonaparte (1769–1821)
context—through
lends itselfpolitical
to symmetrical construction, you often find in a minuet a clear-cut
structure
events as well based on phrases of four and eight measures. The tempo ranges from
as literary,
I
stately to lively and whimsical.
artistic, and technological In His Own Words f the time frame of Classicism is hard to pin down, Romanticism is one of the
trends—and provide a Our sweetest songs
artistic trends for which beginnings can be most readily identified, since it was a
self-conscious break from the ideals of the Enlightenment. The artistic movement
window onto musicians’ are those that tell of sad-
really comes into its own through music in the early decades of the 1800s. Indeed, it
dest thoughts.”
social and economic — Percy Bysshe Shelley
is a musician—Ludwig van Beethoven—who is often identified as the first great cre-
(1792–1822) ative Romantic, and whose influence looms to the present day as an embodiment
circumstances. of passionate individual expression. Many of the common tenets of Romanticism
are still very much with us: the artist struggling against rather than working within
society and convention; the need for art to unsettle rather than soothe; the belief
that works display their creator’s distinctive originality and self-expression.
Appendixes: An Age of Revolutions

The Romantic era grew out of the social and political upheavals that followed
● Musical Notation the French Revolution in the last decade of the 1700s. The revolution signaled the
(Appendix I) gives The spirit of the French Revolu- transfer of power from a hereditary landholding aristocracy to the middle class.
tion is captured in Liberty Leading This change, firmly rooted in urban commerce and industry, emerged from the
explanations of musical the People, by Eugène Delacroix Industrial Revolution, which brought millions of people from the country into
(1798–1863).
symbols used for pitch the cities. The new society, based on free enterprise, cel-
ebrated the individual as never before. The slogan of the
and rhythm to assist in French Revolution—“Liberty, Equality, Fraternity”—
inspired hopes and visions to which artists responded
understanding musical
with zeal. Sympathy for the oppressed, interest in peas-
examples. ants, workers, and children, faith in humankind and its
destiny, all formed part of the increasingly democratic
● Glossary (Appendix II) character of the Romantic period, and inspired a series of
revolutions and rebellions that gradually led to the mod-
offers concise definitions of
ern political landscape of Europe.
all musical terms covered
in the book. Romantic Writers and Artists
Romantic poets and artists rebelled against the conven-
tional concerns of their Classical predecessors and were
200

xxvi Preface
About the Listening Guides

The Listening Guides (LGs) are an essential feature of the book; follow along
with them as you listen to the recordings. These guides will enhance your knowl-
edge and appreciation of each piece. Interactive LGs (iLGs) and InQuizitive learn-
ing activities are available online and are compatible with tablets and mobiles.
1. The total duration of the piece is given in the bar at the top, at the right; some
LGs will include the video icon (you can watch a performance online) as well
as headphone icon.
2. The composer and title of each piece is followed by some basic information
about the work, including its date and genre.
3. The “What to Listen For” box focuses your listening by drawing your atten-
tion to each musical element. These elements are color-coded to match chap-
ter topics in Part 1 (for example, “Melody” is pink, as is Chapter 1, “Melody:
Musical Line”).
4. Cumulative timings are listed to the left throughout.
5. Text and translations (if necessary) are given for all vocal works.
6. A moment-by-moment description of events helps you follow the musical
selection throughout.
7. Short examples of the main musical theme(s) are sometimes provided as a
visual guide to what you hear.
216 PART 5 THE NINETEENTH CENTURY
LISTENING GUIDE 28 1:27
1
2 Foster: Jeanie with the Light Brown Hair
DATE: 1854
GENRE: Parlor song
3 What to Listen For

Melody Wavelike (descending, then ascending); Texture Homophonic.
syllabic setting.
Form Strophic, in A-A9-B-A song form.
Rhythm/ Moderate tempo in broad quadruple
meter
Performing Tenor and pianoforte.
meter. forces
Harmony Major key, simple block- and broken-chord
Text Strophic poem by Foster (verse 1 only).
accompaniment.
0:00 Piano introduction

4 0:12 Verse 5 6
I dream of Jeanie with the light brown hair, A section
Borne, like a vapor, on the summer air!
I see her tripping where the bright streams play, A9 section (varied)
Happy as the daisies that dance on her way.
Many were the wild notes her merry voice would pour, B section
Many were the blithe birds that warbled them o’er; Ascending cadenza on “Oh!”
Oh! I dream of Jeanie with the light brown hair, A section returns.
Floating like a vapor, on the soft summer air.
1:13 Piano postlude
Opening of verse, with descending melodic line:
œ œ. j j
&b c œ œ œ œ œ œ ‰
œ œ ˙ 7
I dream of Jea - nie with the light brown hair,
B section, with wavelike line:
&b c œ œ œ œ œ œ. œ œ œ œ œ ˙
Ma - ny were the wild notes her mer - ry voice would pour.

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are characteristic for each species. The Nematus larvae that inhabit
galls possess all the characteristics of those that feed externally. As
a rule the skin of the larva is naked and free from hair, but it is often
minutely tuberculate, and in a few species it is armed with
remarkable forked spines. These spines may exist during part of the
larval life, and completely disappear at one of the moults. The
creatures are as a rule very sluggish, and move about much less
than Lepidopterous larvae; many of them, when alarmed, have the
power of exuding a disagreeable liquid, either from the mouth or
from pores in the skin; in the latter case it may be sent as a sort of
spray to some little distance from the body. This operation is said to
be very efficacious as a means of protecting the larvae from the
attacks of parasitic flies that are desirous of laying eggs in their
bodies. One peculiarity as to their colour has attracted the attention
of Réaumur and subsequent naturalists, namely, that in the case of
many species a great change takes place in the colour during the life
of the larva, and more especially at the period of the last moult. The
change to the pupal state usually takes place in a cocoon, and some
species have the peculiar habit of forming a double cocoon, the
outer one being hard and coarse, while the inner is beautifully
delicate. The cocoon is sometimes formed in the earth, and in that
case it may be to a large extent composed of earthy matter. The
Insect frequently remains a long time in its cocoon before emerging
as a perfect Insect; however long this time may be, it is nearly all of it
passed in the larval state; when the Insect does change to a pupa it
speedily thereafter emerges as a perfect Insect. In the pupa the
parts of the imago may be seen enveloped in a very delicate,
transparent skin.
In Brazil Dielocerus ellisii, a sawfly allied to Hylotoma, constructs a

nest in which the cocoons of many specimens are crowded together,
being packed side by side like the cells in the comb of the bee, while
the whole mass is protected by a thick outer wall. It is not known in
what manner this communal work is carried out, but it is interesting
to note that the cocoons assume to a considerable extent the
hexagonal form of the cells in the comb of the bee. Some doubt was
expressed as to the interpretation put on this structure by Curtis, but
his observations have been confirmed by Smith and Peckholt.
Several species of sawflies are known to be very injurious to crops.

One of these—the sawfly of the turnip, Athalia spinarum (centifoliae
Panz.)—sometimes commits excessive depredations on the turnip
crops in this country as well as on the continent of Europe; its life-
history and anatomy were described by Newport in an essay
published by the Entomological Society in 1838. The eggs, it
appears, are laid singly at the edges of the leaves in the month of
May, as many as 200 or 300 being deposited by one female; as the
parent flies are usually gregarious, appearing in large numbers in
fields of turnips, it is not difficult to form an idea of the serious nature
of their depredations. The egg grows very considerably; the
development of the embryo is rapid, occupying, even in unfavourable
weather, only seven or eight days, while in quite congenial
circumstances it is probable that the eggs may hatch about the
fourth day after their deposition. The young grub immediately begins
to feed, and in about five days changes its skin for the first time; it
repeats this operation twice at similar or slightly longer intervals, the
third moult thus occurring when the larva is three or four weeks old; it
is then that the larva begins to be most destructive. Sunshine and
warm weather are very favourable to it, and under their influence it
grows so rapidly that in a few days a field may be almost completely
stripped of its foliage. This larva is of a sooty black colour, and will
live on other Cruciferous plants quite as well as on the turnip. When
full grown it buries itself to a slight depth under the surface of the
earth, and forms an oval cocoon of a firm texture, and with many
particles of earth closely adherent to it. The perfect fly emerges
towards the end of July, and a second brood will be produced in the
same season if circumstances are favourable; in that case the
resulting larvae enter the ground for the formation of their cocoons in
September or October, and pass the winter in their cocoons, but still
in the larval state; changing to pupae in the following spring, and
appearing as perfect Insects in May. From this account it appears
not improbable that the offspring of a single female existing in the
April of one year may amount by the following May—three
generations having been passed through in the interval—to as many
as 27,000,000 larvae. Fortunately the creatures are, as Frauenfeld
observed, destroyed in very large numbers by a parasitic fungus and
by a Nematode (Filaria).
We have, earlier in the chapter, alluded to the fact that the

phenomena of parthenogenesis prevail somewhat extensively
among sawflies. It is the rule in the family that males are very much
less numerous than females, and there are some species of which
no males have been discovered. This would not be of itself certain
evidence of the occurrence of parthenogenesis, but this has been
placed beyond doubt by taking females bred in confinement,
obtaining unfertilised eggs from them, and rearing the larvae
produced from the eggs. This has been done by numerous
observers with curious results. In many cases the parthenogenetic
progeny, or a portion of it, dies without attaining full maturity. This
may or may not be due to constitutional weakness arising from the
parthenogenetic state. Cameron, who has made extensive
observations on this subject, thinks that the parthenogenesis does
involve constitutional weakness, fewer of the parthenogenetic young
reaching maturity. This he suggests may be compensated for—when
the parthenogenetic progeny is all of the female sex—by the fact that
all those that grow up are producers of eggs. In many cases the
parthenogenetic young of Tenthredinidae are of the male sex, and
sometimes the abnormal progeny is of both sexes. In the case of
one species—the common currant sawfly, Nematus ribesii—the
parthenogenetic progeny is nearly, but not quite, always, entirely of
the male sex; this has been ascertained again and again, and it is
impossible in these cases to suggest any advantage to the species
to compensate for constitutional parthenogenetic weakness. On the
whole, it appears most probable that the parthenogenesis, and the
special sex produced by it, whether male or female, are due to
physiological conditions of which we know little, and that the species
continue in spite of the parthenogenesis, rather than profit by it. It is
worthy of remark that one of the species in which parthenogenesis
with production of males occurs—Nematus ribesii—is perhaps the
most abundant of sawflies.
Although many kinds of Insects display the greatest solicitude and
ingenuity in providing proper receptacles for their eggs, and in
storing food for the young that will be produced, there are extremely
few that display any further interest in their descendants; probably,
indeed, the majority of Insects die before the eggs are hatched, one
generation never seeing the individuals of another. It is therefore
interesting to find that a fairly well authenticated case of maternal
attachment, such as we have previously alluded to as occurring in
earwigs, has been recorded in Perga lewisii, an Australian sawfly of
the sub-family Cimbicides. The mother, having deposited about
eighty eggs on the leaf of a Eucalyptus, remains with them until they
hatch, after which she sits over her brood with outstretched legs, and
with admirable perseverance protects them, so far as she is able,
from the attacks of parasites and other enemies; she quite refuses to
be driven away from her charges. Mr. Lewis, to whom we are
indebted for this account,[427] states that the sawfly does not
recognise her own special brood, but will give equal attention to
another brood if she be transferred thereto; and he adds that many
of the batches of larvae were destitute of any maternal guardian.
There are about 2000 species of sawflies known. A large majority of

them are found in the European and North American regions; still, a
good many are known to live in South America, and Perga—one of
the genera of the family containing many species of large size—is
peculiar to the Australian region. Although the family includes so
many species, very few anomalies of structure have been detected
in it; one species, Pompholyx dimorpha Freymuth, is described as
being apterous in the female, and as having the thorax curiously
modified in its form. There are no very small Insects in the family,
and none over the middle size. Nearly 400 species have been
detected in Britain; this number could certainly be increased by
persevering researches. The palaeontological record has hitherto
given only a very meagre evidence about sawflies. Several species
have been preserved in amber, and three or four are known from
Tertiary strata in Europe and North America.
CHAPTER XXIII
HYMENOPTERA PETIOLATA–PARASITIC HYMENOPTERA–CYNIPIDAE OR

GALL-FLIES–PROCTOTRYPIDAE–CHALCIDIDAE–ICHNEUMONIDAE–
BRACONIDAE–STEPHANIDAE–MEGALYRIDAE–EVANIIDAE–PELECINIDAE–
TRIGONALIDAE.
We now pass to the consideration of the Hymenoptera of the sub-

Order Petiolata, or Apocrita, as they are styled by Brauer. We should
make use of the term Petioliventres, for it contrasts naturally by its
termination with Sessiliventres, were it not that the word is so
uncouth that we think it better to adopt the shorter and more
euphonious expression, Petiolata.
The members of this sub-Order, without exception, have the hind

body connected with the thorax by means of a deep constriction, so
that the base of the abdomen (Fig. 336, B, b) is very narrow; the
articulation between the two parts is effected by means of a complex
joint allowing great play, and facilitating the operations of boring and
stinging, processes that are of extreme importance in the economy
of the great majority of the species. The petiole is sometimes
extremely short, but it may be so long that it appears like a stalk, at
whose extremity is borne the remaining part of the abdomen (Fig.
369). When the petiole is very short the abdomen reposes close to
the back of the thorax (Fig. 331, C), and in this case the abdomen is
usually described as sessile; while, when it is evidently stalked, it is
said to be petiolate. These terms are, however, unsuitable, as the
words sessile and petiolate should be reserved for the conditions
characteristic of the two sub-Orders. We shall therefore use the
terms pseudo-sessile and pedicellate for the two conditions of the
Petiolata.
The Hymenoptera Petiolata comprises an enormous majority of the

Order. Although it includes many of the most interesting and
important of Insects, its classification is but little advanced, for a
great many of the forms are still rare or unknown. Three series may
be adopted for the purposes of nomenclature.
1. Parasitica.—Trochanters of two pieces, female with an ovipositor.
2. Tubulifera.—Trochanters undivided; abdomen consisting of only

three, four, or five visible segments.
3. Aculeata.—Trochanters undivided; abdomen consisting of six or

seven visible segments; female furnished with a retractile sting.
In the absence of any clear distinction between sting and ovipositor,

these groups are merely conventional. The character furnished by
the trochanters is unfortunately subject to some exceptions, there
being a few parasitic forms in which the trochanters are not divided,
and a few aculeates in which the reverse is more or less distinctly
the case; moreover, the division, when it exists, is in some cases
obscure, and the two pieces are of unequal size. Ratzeburg calls the
upper division, which is frequently much larger than the other, the
trochanter, and the lower division the apophysis. There is much
reason for believing that the apophysis is really merely a secondary
division of the femur. The Tubulifera are a comparatively small
group, and will probably be merged in one of the other two, when the
anatomy and morphology of the abdomen have been more
thoroughly elucidated.
Fig. 345.—Divided (ditrochous) trochanter of an Ichneumon: a, coxa; b,

the two divisions of the trochanter; c, femur. (For monotrochous
trochanter see Fig. 335, A, c.)
Hymenoptera Parasitica or Terebrantia.
This is one of the most extensive divisions of the class Insecta.

There can be little doubt that it contains 200,000 species, and
possibly the number may be very much greater than this. It is,
however, one of the most neglected of the great groups of Insects,
though it is perhaps of greater economic importance to mankind than
any other.
Insects derive their sustenance primarily from the vegetable

kingdom. So great and rapid are the powers of assimilation of the
Insect, so prodigious its capacity for multiplication, that the Mammal
would not be able to compete with it were it not that the great horde
of six-legged creatures has divided itself into two armies, one of
which destroys the other. The parasitic Hymenoptera are chiefly
occupied in destroying the tribes of vegetarian Insects; the parasites
do this by the simple and efficient device of dwelling in the bodies of
their hosts and appropriating the nutriment the latter take in. The
parasites do not, as a rule, eat the structures of their host,—many of
them, indeed, have no organs that would enable them to do this,—
but they absorb the vegetable juices that, in a more or less altered
state, form the lymph or so-called blood of the host. The host could
perhaps starve out his enemies by a judicious system of abstention
from food; instead, however, of doing this, he adopts the suicidal
policy of persistent eating, and as the result of his exertions,
furnishes sufficient food to his parasites, and then dies himself,
indirectly starved. Ratzeburg considers that the traditional view that
the larvae of parasitic Hymenoptera live by eating the fat-body of
their host is erroneous. They imbibe, he considers, the liquid that fills
the body of the parasitised Insect.[428]
The wide prevalence of Insect parasitism is appreciated only by

entomologists. The destructive winter moth—Cheimatobia brumata
—is known to be subject to the attacks of sixty-three species of
Hymenopterous parasites. So abundant are these latter that late in
the autumn it is not infrequently the case that the majority of
caterpillars contain these destroyers. Although Lepidoptera are very
favourite objects with parasitic Hymenoptera, yet other Insects are
also pertinaciously attacked; there is quite a host of Insect creatures
that obtain their sustenance by living inside the tiny Aphididae, or
"green-flies," that so much annoy the gardener. A still larger number
of parasites attack eggs of Insects, one or more individuals finding
sufficient sustenance for growth and development inside another
Insect's egg. As Insects have attacked Insects, so have parasites
attacked parasites, and the phenomena called hyperparasitism have
been developed. These cases of secondary parasitism, in which
another species attacks a primary parasite, are extremely numerous.
It is also pretty certain that tertiary parasitism occurs, and Riley is of
opinion that even quaternary destruction is not outside the range of
probability.
The physiological problems connected with Insect parasitism are of

great interest to the entomologist; the modes of nutrition and
respiration of these encaged creatures could not fail to be most
instructive were we fully acquainted with them. It is obvious that
when an Insect-egg is laid inside another Insect's egg, and the
parasite has to undergo the whole of its growth therein, it is in the
strangest condition as regards nutrition. It is unnecessary for the
intruded egg to have yolk of its own; moreover, the embryonic mode
of nutrition may be continued during what would, with other Insects,
be the larval period. And it seems to be the case that both these
conditions are actually met with in the lives of egg-parasites. The
embryology and post-embryonic development of parasitic
Hymenoptera have already been ascertained to be of the most
extraordinary nature. Great variety, however, will no doubt be found
to exist, as will be readily understood if we tabulate the conditions of
the early life of various parasitic Hymenoptera.
1. The egg may be laid outside a larva, and the embryonic and larval
developments may both be passed on the exterior.
2. The egg may be laid and the embryonic development passed
through, outside the host, but the parasite on hatching may enter the
host, so that the post-embryonic development is passed in the lymph
of the host.
3. The egg may be laid inside the host, both embryonic and post-
embryonic developments being gone through in the fluids of the
host.
4. The egg may be laid inside another egg, the embryonic and post-
embryonic developments being passed therein.
We shall find that all these conditions exist in the Insects we are
about to consider.
We shall treat the series as composed of ten families; but we must

remind the student that this great subject is still in a very
unadvanced state; the combined efforts of generations of naturalists
will be required to perfect it. Of the ten families five are
comparatively insignificant in number of species. Many of the
Cynipidae are not parasitic in habits, but live in galls. After what we
have said as to the mode of nutrition of parasites it will be
understood that the physiological conditions of life may not be so
different in a gall-dweller and a parasite as would at first be
supposed; and it is perhaps not a matter for much surprise that good
characters cannot be found to separate the gallicolous from the
parasitic forms.
Fam. I. Cynipidae—Gall-flies.
Wings with very few cells, with no dark patch (stigma) on the
anterior margin; pronotum fixed to the mesonotum, and at each
side extending back to the point of insertion of the front wing.
Antennae not elbowed but straight, composed of a moderate
number (12-15) of joints. Early stages passed either in galls or
as parasites in the bodies of other Insects.
Fig. 346.—Neuroterus lenticularis. Britain.
The Cynipidae are always small, frequently minute, Insects; usually

black or pitchy in colour. The simple structure of the antennae and
the number of their joints are of importance as an aid in identifying a
Cynipid. The mesonotum is usually remarkably convex, and has,
behind, a prominent scutellum, which more or less overhangs the
small metanotum and the median segment; these are perpendicular
in their direction; the sculpture of these posterior parts of the alitrunk
is usually deep and remarkable. The abdomen has usually only a
short petiole, so as to be pseudo-sessile; but there are some genera
in which this part is rather long. The abdomen is generally so very
much changed in outer form that its structure is not easily
understood. The visible portion is frequently in larger part made up of
the greatly enlarged dorsal plate of the second or third segment, or
of both. These large plates are really chiefly composed of free flaps,
and on lifting them up the large ventral plates are disclosed, although
these appeared previously to be nearly or quite absent. In the female
there is a very slender ovipositor, of which only a small part
protrudes, although the organ is really elongate; it is drawn into the
abdomen by means of a peculiar series of structures, the modified
terminal segments to which it is attached being folded over into the
interior of the body in such a way that the posterior part becomes
situated anteriorly. In conformity with this arrangement, the ovipositor
is bent double on itself, the anterior and the middle portions of the
borer being carried into the body, leaving only a small part projecting
beyond the extremity. The Cynipid ovipositor is an instrument of
much delicacy, and is capable of a great deal of movement; it is
usually serrate just at the tip, and although it looks so very different
from the cutting apparatus of the sawflies (Fig. 344), it seems that it
is really composed of pieces similar in their origin to those of the
Tenthredinidae.
Fig. 347.—Ovipositor of Neuroterus laeviusculus. (After Adler.) a, a,

The ovipositor partially coiled; b, extremity of posterior plate; c, c,
muscles.
The wings frequently bear fine hairs; the paucity of nervures and the
absence of the "stigma" are of importance in the definition of the
family. The most important of the cells is one called the radial cell,
situate just beyond the middle of the front part of the wing.
We cannot enter into a consideration of the classification of the

family, as authorities are not agreed on the subject.[429] As regards
their habits Cynipidae are, however, of three different kinds: (1) the
true gall-flies, or Psenides, which lay an egg or eggs in the tissues of
a growing plant, in the interior of which the larva lives after it is
hatched; this mode of life may or may not, according to the species,
be accompanied by formation of a peculiar growth called a gall: (2)
Inquilines,[430] or guest-flies; these lay their eggs in the galls formed
by the gall-makers subsequent to the growth of the galls, of which
they obtain the benefit: (3) Parasites; these live, like most
Ichneumon-flies, in the interior of the bodies of other living Insects;
they prey on a considerable variety of Insects, but chiefly, it is
believed, on Aphididae, or on Dipterous larvae. These parasitic flies
belong to the sub-family Figitides.
A great deal of discussion has occurred relative to the nature and

origin of galls, and many points still remain obscure. Considerable
light has been thrown on the subject by the direct observations of
modern naturalists. Previous to Malpighi, who wrote on the subject
two hundred years ago, it was supposed that galls were entirely
vegetable productions, and that the maggots found in them were due
to spontaneous generation, it having been an article of belief in the
Middle Ages that maggots in general arose from the various organic
substances in which they were found, by means of the hypothetical
process called, as we have said, spontaneous generation. Malpighi
was aware of the unsatisfactory nature of such a belief, and having
found by observation that galls arose from the punctures of Insects,
he came to the further conclusion that the growth of the gall was due
to the injection by the Insect into the plant of a fluid he termed Ichor,
which had, he considered, the effect of producing a swelling in the
plant, something in the same way as the sting of a bee or wasp
produces a swelling in an animal. Réaumur also made observations
on the gall-Insects, and came to the conclusion that the latter part of
Malpighi's views was erroneous, and that the swelling was not due to
any fluid, but simply to irritation caused by the prick; this irritation
being kept up by the egg that was deposited and by the subsequent
development of the larva. Observations since the time of Réaumur
have shown that the matter is not quite so simple as he supposed,
for though in the case of some galls the development of the gall
commences immediately after the introduction of the egg, yet in
other cases, as in the Cynipidae, it does not occur till some time
thereafter, being delayed even until after the hatching of the egg and
the commencement of the development of the larva. Galls are
originated by a great variety of Insects, as well as by mites, on many
plants; and it must not be concluded that a gall has been formed by
Hymenoptera even when these Insects are reared from one.
Extremely curious galls are formed by scale-Insects of the sub-family
Brachyscelides on Eucalyptus trees in Australia; they are much
inhabited by parasitic Hymenoptera, and Froggatt has obtained 100
specimens of a small black Chalcid from a single dead Brachyscelid.
[431] The exact manner in which many of these galls originate is not
yet sufficiently ascertained; but the subject of the galls resulting from
the actions of Cynipidae has received special attention, and we are
now able to form a conception of their nature. They are produced by
the meristematic or dividing tissue of plants, and frequently in the
cambium zone, which is caused to develop to an unusual extent, and
in a more or less abnormal manner, by the presence of the Insect.
The exact way in which a Cynipid affects the plant is perhaps not
conclusively settled, and may be found to differ in the cases of
different Cynipidae, but the view advocated by Adler and others, and
recently stated by Riley,[432] seems satisfactory; it is to the effect that
the activity of the larva probably affects the meristem, by means of a
secretion exuded by the larva. The mere presence of the egg does
not suffice to give rise to the gall, for the egg may be deposited
months before the gall begins to form. It is for the same reason
improbable that a fluid injected by the parent fly determines the gall's
growth. It is true that the parent fly does exude a liquid during the act
of oviposition, but this is believed to be merely of a lubricant nature,
and not to influence the development. It is said that the gall begins to
form in some cases before the larva is actually hatched, but the eggs
of some Hymenoptera exhibit remarkable phenomena of growth, so
that the egg, even during development of the embryo in it, may in
these cases, exert an influence on the meristem. It is to reactions
between the physiological processes of the meristem and the
growing Insect that the gall and its form are due.
The investigations of several recent naturalists lend support to the

view that only the meristematic cells of the plant can give rise to a
gall. Riley says that the rate of growth of the gall is dependent on the
activity of the meristem, galls on catkins developing the most quickly;
those forming on young leaves also grow with rapidity, while galls
formed on bark or roots may take months to attain their full size.
Fig. 348.—Bedeguar on rose, cut across to show the cells of the

larvae; in some of the cells larvae are seen.
It is a curious fact that Cynipid galls are formed chiefly on oaks, this
kind of tree supplying a surprising number and variety of galls. The
plants that furnish Cynipid galls in Europe are not numerous. A list of
them is given by Cameron.[433] Several species, of the genus
Rhodites, attack rose-bushes. One of the best known of our British
galls is the bedeguar, found in various parts of the country on both
wild and cultivated rose-bushes (Fig. 348), and caused by Rhodites
rosae (Fig. 349). This gall has the appearance of arising from a twig
or stem, but it is really a leaf gall. Pazlavsky[434] has described the
mode of formation of the bedeguar. The female Rhodites in the
spring selects a rose-bud—not a flower-bud—that should produce a
twig and leaves, and pricks this bud in a systematic manner in three
places. The three spots of the bud pricked by the Insect are the three
undeveloped leaves that correspond to a complete cycle in the
phyllotaxis of the plant. The three rudiments do not develop into
leaves, but by a changed mode of growth give rise to the bedeguar.
Usually this gall, as shown in our figure, is of large size, and contains
numerous cells; but abortive specimens are not infrequently met
with; sometimes a small one is seated on a rose-leaf, and it is
thought that these are due to a failure on the part of the Insect to
complete the pricking operation. Cynipidae will not go through their
gall-making operations except under natural conditions. Giraud[435]
attempted to obtain oviposition, on gathered twigs of oak, from flies
in confinement; but, although he experimented with thousands of
specimens, they on no occasion laid their eggs in the fresh shoots
placed at their disposal, but discharged their eggs in little heaps,
without attention to the twigs. The same observer has also called
attention to the fact that after being deposited in a bud the eggs of
certain species of Cynips will remain dormant without producing, so
far as can be seen, any effect on the tree for a period of fully ten
months, but when the bud begins to develop and the egg hatches
then the gall grows.
Fig. 349.—Rhodites rosae, female. Cambridge.
The exact mode in which the egg is brought to the requisite spot in
the plant is still uncertain. The path traversed by the ovipositor in the
plant is sometimes of considerable length, and far from straight; in
some cases before it actually pierces the tissues, the organ is thrust
between scales or through fissures, so that the terebra, or boring
part of the ovipositor, when it reaches the minute seam of cambium,
is variously curved and flexed. Now as the canal in its interior is of
extreme tenuity, and frequently of great length, it must be a very
difficult matter for the egg to reach the tissue where it should
develop. The eggs of Cynipidae are very remarkable bodies; they
are very ductile, and consist of a head, and of a stalk that in some
cases is five or six times as long as the head, and is itself somewhat
enlarged at the opposite end. Some other Hymenoptera have also
stalked eggs of a similar kind (Fig. 357, A, egg of Leucospis). It has
been thought that this remarkable shape permits of the contents of
the egg being transferred for a time to the narrower parts, and thus
allows the broader portion of the egg to be temporarily compressed,
and the whole structure to be passed through a very narrow canal or
orifice. It is, however, very doubtful whether the egg really passes
along the canal of the borer. Hartig thought that it did so, and Riley
supports this view to a limited extent. Adler, however, is of a different
opinion, and considers that the egg travels in larger part outside the
terebra. It should be remembered that the ovipositor is really
composed of several appendages that are developed from the
outside of the body; thus the external orifice of the body is
morphologically at the base of the borer, the several parts of which
are in longitudinal apposition. Hence there is nothing that would
render the view of the egg leaving the ovipositor at the base
improbable, and Adler supposes that it actually does so, the thin end
being retained between the divisions of the terebra. Riley is of
opinion that the act of oviposition in these Insects follows no uniform
system. He has observed that in the case of Callirhytis clavula,
ovipositing in the buds of Quercus alba, the eggs are inserted by the
egg-stalk into the substance of the leaf, and that the egg-fluids are at
first gathered in the posterior end, which is not inserted. "The fluids
are then gradually absorbed from this exposed portion into the
inserted portion of the egg, and by the time the young leaves have
formed the exposed [parts of the] shells are empty, the thread-like
stalk has disappeared, and the egg-contents are all contained within
the leaf tissue." He has also observed that in Biorhiza nigra the
pedicel, or stalk, only is inserted in the embryonic leaf-tissue, and
that the enlarged portion or egg-body is at first external. The same
naturalist also records that in the case of a small inquiline species,
Ceroptres politus, the pedicel of the egg is very short, and in this
case the egg is thrust down into the puncture made by the borer, so
that the egg is entirely covered.
Some Cynipidae bore a large number of the channels for their eggs
before depositing any of the latter, and it would appear that it is the
rule that the boring of the channel is an act separate from that of
actual oviposition. Adler distinguishes three stages: (1) boring of the
canal; (2) the passage of the egg from the base of the ovipositor,
where the egg-stalk is pinched between the two spiculae and the
egg is pushed along the ovipositor; (3) after the point of the
ovipositor is withdrawn, the egg-body enters the pierced canal, and
is pushed forward by the ovipositor until it reaches the bottom.[436]
About fifty years ago Hartig reared large numbers of certain species
of gall-flies from their galls, obtaining from 28,000 galls of Cynips
disticha about 10,000 flies, and from galls of C. folii 3000 or 4000
examples of this species; he found that all the individuals were
females. His observations were subsequently abundantly confirmed
by other naturalists, among whom we may mention Frederick Smith
in our own country, who made in vain repeated attempts to obtain
males of the species of the genus Cynips. On one occasion he
collected in the South of England 4410 galls of C. kollari (at that time
called C. lignicola), and from these he obtained 1562 flies, all of
which were females. A second effort was attended with similar
results. Hartig, writing in 1843, after many years' experience, stated
that though he was acquainted with twenty-eight species of the
genus Cynips, he had not seen a male of any one of them. During
the course of these futile attempts it was, however, seen that a
possible source of fallacy existed in the fact that the Insects were
reared from collected galls; and these being similar to one another, it
was possible that the males might inhabit some different gall. Adler
endeavoured to put the questions thus raised to the test by means of
rearing females from galls, and then getting these females to
produce, parthenogenetically, galls on small oaks planted in pots,
and thus completely under control. He was quite successful in
carrying out his project, and in doing so he made a most
extraordinary discovery, viz. that the galls produced by these
parthenogenetic females on his potted oaks, were quite different
from the galls from which the flies themselves were reared, and
were, in fact, galls that gave rise to a fly that had been previously
considered a distinct species; and of this form both sexes were
produced. Adler's observations have been confirmed by other
naturalists, and thus the occurrence of alternation of generations,
one of the two generations being parthenogenetic, has been
thoroughly established in Cynipidae. We may mention one case as
illustrative. A gall-fly called Chilaspis lowii is produced from galls on
oak-leaves at Vienna at the end of April, both sexes occurring. The
female thereafter lays eggs on the ribs of the leaves of the same
kind of oak, and thus produces a different gall from that which
nourished herself. These galls fall off with the leaves in the autumn,
and in July or August of the following year a gall-fly is produced from
them. It is a different creature from the mother, and was previously
known to entomologists under the name of Chilaspis nitida. Only
females of it occur, and these parthenogenetic individuals lay their
eggs in the young buds of the oak that are already present in the
autumn, and in the following spring, when the buds open and the
leaves develop, those that have had an egg laid in them produce a
gall from which Chilaspis lowii emerges in April or May. In this case
therefore the cycle of the two generations extends over two years,
the generation that takes the greater part of the time for its
production consisting only of females. Adler's observations showed
that, though in some species this alternation of generations was
accompanied by parthenogenesis in one part of the cycle, yet in
other species this was not the case. He found, for instance, that
some gall-flies of the genus Aphilothrix produced a series of
generations the individuals of which were similar to one another, and
were all females and parthenogenetic. In some species of the old
genus Cynips no males are even yet known to occur. A very curious
observation was made by the American, Walsh, viz. that of galls
gathered by him quite similar to one another, some produced
speedily a number of both sexes of Cynips spongifica, while much
later on in the season the remainder of the galls gave rise to females
only of an Insect called Cynips aciculata. It is believed that the galls
gathered by Walsh[437] were really all one species; so that parts of
the same generation emerge at different times and in two distinct
forms, one of them parthenogenetic, the other consisting of two
sexes. It has, however, been suggested that Cynips spongifica and
C. aciculata may be two distinct species, producing quite similar
galls.
Turning now to the questions connected with inquiline or guest-flies,

we may commence with drawing attention to the great practical
difficulties that surround the investigation of this subject. If we open a
number of specimens of any kind of gall it is probable that several
kinds of larvae will be found. In Fig. 350 we represent four kinds of
larvae that were taken out of a few bedeguar galls gathered on one
day in a lane near Cambridge. It is pretty certain that No. 1 in this
figure represents the larva of Rhodites rosae, and that Nos. 2 and 3
are larvae of inquilines, possibly of Synergus, or of a parasite; while
No. 4, which was engaged in feeding on No. 3 in the position shown,
is possibly a Chalcid of the genus Monodontomerus, or may be
Callimome bedeguaris. It is clear that, as we cannot ascertain what
is inside a gall without opening it, and thereby killing the tenants, it is
a most difficult matter to identify the larvae; the only safe method is
that of observation of the act of oviposition; this may be
supplemented by rearing the flies from galls, so as to ascertain what
variety of flies are associated with each kind of gall. This last point
has been well attended to; but the number of cases in which
oviposition of inquiline gall-flies in the galls formed by the Psenides
has been ascertained by direct observation is still very small; they
are, however, sufficient to show that the inquilines deposit their eggs
only after the galls are formed.
Fig. 350.—Larvae inhabiting bedeguar gall at Cambridge. 1, Rhodites

rosae in cell; 2 and 3, larvae of inquilines; 4, larva of a parasitic
Hymenopteron.
Bassett recorded the first case of the kind in connexion with a North
American species, Cynips (Ceroptres) quercus-arbos Fitch. He says:
"On the first of June galls on Quercus ilicifolia had reached their full
size, but were still tender, quite like the young shoots of which they
formed part. Examining them on that day, I discovered on them two
gall-flies, which I succeeded in taking. They were females, and the
ovipositor of each was inserted into the gall so deeply that they could
not readily free themselves, and they were removed by force."
The great resemblance of the inquiline gall-fly to the fly that makes
the gall both dwell in, has been several times noticed by Osten
Sacken, who says "one of the most curious circumstances
connected with the history of two North American blackberry galls is,
that besides the Diastrophus, which apparently is the genuine
originator of the gall, they produce another gall-fly, no doubt an
inquiline, belonging to the genus Aulax, and showing the most
striking resemblance in size, colouring, and sculpture to the
Diastrophus, their companion. The one is the very counterpart of the
other, hardly showing any differences, except the strictly generic
characters! This seems to be one of those curious instances, so
frequent in entomology, of the resemblance between parasites and
their hosts! By rearing a considerable number of galls of D.
nebulosus I obtained this species as well as its parasite almost in
equal numbers. By cutting some of the galls open I ascertained that
a single specimen of the gall frequently contained both species, thus
setting aside a possible doubt whether these Insects are not
produced by two different, although closely similar galls."[438]
The substance of which galls are composed, or rather, perhaps, a

juice they afford, is apparently a most suitable pabulum for the
support of Insect life, and is eagerly sought after by a variety of
Insects; hence by collecting galls in large quantities many species of
Insects may be reared from them; indeed by this means as many as
thirty different kinds of Insects, and belonging to all, or nearly all, the
Orders, have been obtained from a single species of gall. Some galls
are sought by birds, which open them and extract their tenants, even
in cases where it might be supposed that the nauseous flavour of the
galls would forbid such proceedings.
Not more than 500 species of Psenides and Inquiline Cynipidae are
known from all parts of the world; and of described Parasitic
Cynipidae there are only about 150 species. The British forms have
recently been treated by Cameron in the work we have already
several times referred to.[439]
A few Cynipidae have been found in amber; and remains of

members of the family, as well as some galls, are said by Scudder to
have been found in the Tertiary strata at Florissant.
Fam. II. Proctotrypidae, or Oxyura.

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(eBook PDF) The Enjoyment of Music

EJM12e_FM_A-B_i-xxxii_4PP.indd 1 8/28/14 7:05 PM

Eighteenth-­Century Classicism PART 4

PRELUDE 4 Music as Order and Logic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

The Patronage System

CHAPTER 28 Musical Conversations: Haydn and Classical

CHAPTER 29 The Ultimate Instrument: Haydn and the

CHAPTER 30 Expanding the Conversation: Mozart, Chamber

CHAPTER 31 Conversation with a Leader: The Classical

LG 21 Mozart: Piano Concerto in G Major, K. 453, I

CHAPTER 32 Personalizing the Conversation: Beethoven and

EJM12e_FM_A-B_i-xxxii_4PP.indd 9 8/28/14 7:05 PM

CHAPTER 33 Disrupting the Conversation: Beethoven and

LG 23 Beethoven: Symphony No. 5 in C Minor

CHAPTER 34 Making It Real: Mozart and Classical Opera. . . . . . . . . . . . . . . . . . 187

CHAPTER 35 Mourning a Hero: Mozart and the Requiem. . . . . . . . . . . . . . . . . . . 193

A Comparison of Classical and Romantic Styles 197

PART 5 The Nineteenth Century

PRELUDE 5 Music as Passion and Individualism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

CHAPTER 36 Musical Reading: Schubert, Schumann, and the

CHAPTER 37 Marketing Music: Foster and Early “Popular” Song.. . . . . 213

CHAPTER 38 Dancing at the Keyboard: Chopin and Romantic

EJM12e_FM_A-B_i-xxxii_4PP.indd 10 8/28/14 7:05 PM

CHAPTER 39 Musical Diaries: Hensel and Programmatic

CHAPTER 40 Piano Triumphant: Gottschalk and

CHAPTER 41 Personal Soundtracks: Berlioz and the

CHAPTER 42 Sounding a Nation: Grieg and Orchestral

CHAPTER 43 Absolutely Classic: Brahms and the ­

CHAPTER 44 Multimedia Hits: Verdi and Italian Romantic

LG 35 Verdi: Rigoletto, Act III, excerpts

CHAPTER 45 Total Art: Wagner and German Romantic Opera. . . . . . . . 256

CHAPTER 46 Poetry in Motion: Tchaikovsky and the Ballet.. . . . . . . . . . . . . . 262

EJM12e_FM_A-B_i-xxxii_4PP.indd 11 8/28/14 7:05 PM

CHAPTER 47 Exotic Allure: Puccini and the Italian

CHAPTER 48 Accepting Death: Fauré and the Requiem.. . . . . . . . . . . . . . . . . . . . 272

CHAPTER 49 Mythical Impressions: Program Music at the End

Prelude to “The Afternoon of a Faun”

CHAPTER 50 Jubilees and Jubilation: The African American

LG 41 Swing Low, Sweet Chariot

CHAPTER 51 A Good Beat: American Vernacular Music

LG 42 Joplin: Maple Leaf Rag

A Comparison of Romantic, Impressionist, and

PART 6 Twentieth-­Century Modernism

PRELUDE 6 Making Music Modern.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

EJM12e_FM_A-B_i-xxxii_4PP.indd 12 8/28/14 7:05 PM

CHAPTER 52 Anything Goes: Schoenberg and

CHAPTER 53 Calculated Shock: Stravinsky and

CHAPTER 54 Still Sacred: Religious Music in the Twentieth

CHAPTER 55 War Is Hell: Berg and Expressionist Opera. . . . . . . . . . . . . . . . . . . . 315

CHAPTER 56 American Intersections: Jazz and Blues Traditions. . . . . 321

CHAPTER 57 Modern America: Still and Musical Modernism

CHAPTER 58 Folk Opera? Gershwin and Jazz as “Art”.. . . . . . . . . . . . . . . . . . . . . . 333

CHAPTER 59 Sounds American: Ives, Copland, and

EJM12e_FM_A-B_i-xxxii_4PP.indd 13 8/28/14 7:05 PM

CHAPTER 60 Also American: Revueltas and Mexican

LG 53 Revueltas: Homage to Federico García Lorca, III

CHAPTER 61 Classic Rethinking: Bartók and the ­

Eighteenth-Century Classicism PART 4

CHAPTER 43 Absolutely Classic: Brahms and the

PART 6 Twentieth-Century Modernism

CHAPTER 61 Classic Rethinking: Bartók and the

CHAPTER 62 New Sound Palettes: Mid-Twentieth-Century

CHAPTER 66 Neo-Romantic Evocations: Higdon and

● A varied repertory broadly represents