The Norton Scores : an anthology for listening / edited by Roger Kamien

Contributor(s): Material type: TextTextSeries: ; Volume IIPublication details: New York : W.W. Norton & Company, Inc., c1977Edition: Third editionDescription: ix, 801 pages : illustrations ; 21 cmISBN:
  • 393091236
Subject(s): LOC classification:
  • MT 6 .N67 1977
Contents:
1. FRANZ SCHUBERT, Erlkönig -- 2. SCHUBERT, An Sylvia -- 3. SCHUBERT, Fourth movement (Theme and Variations) from Quintet in A major (Trout) -- 4. HECTOR BERLIOZ, Fourth movement from Symphonie fantastique -- 5. FELIX MENDELSSOHN, Overture to A Midsummer Night's Dream -- 6. MENDELSSOHN, First movement from Violin Concerto in E minor -- 7. FRÉDÉRIC FRANÇOIS CHOPIN, Mazurka in C-sharp minor, Opus 6, No. 2 -- 8. CHOPIN, Etude in A minor, Opus 25, No. 11 -- 9. CHOPIN, Prelude in E minor, Opus 28, No. 4 -- 10. ROBERT SCHUMANN, Mondnacht from Liederkreis, Opus 39 -- 11. FRANZ LISZT, Sonetto 104 del Petrarca -- 12. RICHARD WAGNER, Excerpts from Tristan und Isolde -- 13. GIUSEPPE VERDI, Violetta's scene from La traviata, Act I -- 14. VERDI, Opening of the Dies irae from Messa da Requiem -- 15. JOHANNES BRAHMS, Third movement from Symphony No. 3 in F major -- 16. MODEST MUSORGSKY, Boris's Monologue from Boris Godunov, Act II 17. PETER ILYICH TCHAIKOVSKY, Romeo and Juliet, Overture-Fantasy 18. TCHAIKOVSKY, Excerpts from The Nutcracker -- 19. GIACOMO PUCCINI, Scene from La bohème, Act I -- 20. GUSTAV MAHLER, Fourth movement from Symphony No. 4 -- 21. CLAUDE DEBUSSY, Prelude to "The Afternoon of a Faun" -- 22. ARNOLD SCHOENBERG, Excerpts from Five Pieces for Orchestra, -- 23. SCHOENBERG, A Survivor from Warsaw -- 24. CHARLES IVES, Putnam's Camp, Redding, Connecticut -- 25. BÉLA BARTÓK, First movement from Music for Strings, -- 26. IGOR STRAVINSKY, Excerpts from The Rite of Spring -- 27. STRAVINSKY, First movement from Symphony of Psalms -- 28. ANTON WEBERN, Pieces for Orchestra, Opus 10, Nos. 3 and 4 -- 29. EDGARD VARÈSE, Ionisation -- 30. ALBAN BERG, Act III, Scenes 4 and 5 from Wozzeck -- 31. AARON COPLAND, Opening scene from Billy the Kid -- 32. RUTH CRAWFORD, Third movement from String Quartet 1931 -- 33. ELLIOTT CARTER, Etudes 4, 5, and 8 from Eight Etudes and a Fantasy for Woodwind Quartet -- 34. PIERRE BOULEZ, Excerpts from Le Marteau sans maître No. 1: Before "L'Artisanat furieux" No. 3: "L'Artisanat furieux" No. 7: After "L'Artisanat furieux" -- 35. GEORGE CRUMB, El niño busca su voz from Ancient Voices of Children -- 36. MARIO DAVIDOVSKY, Synchronisms No. 1 for Flute and
Summary: This anthology is designed for use in introductory music courses, where the ability to read music is not a prerequisite. The unique system of high- lighting employed in this book enables students to follow full orchestral scores after about one hour of instruction. This system also has the ad- vantage of permitting students who can read music to perceive every aspect of the score. It is felt that our system of highlighting will be of greater pedagogical value than artificially condensed scores, which restrict the student's vision to pre-selected elements of the music. The use of scores in introductory courses makes the student's listening experience more intense and meaningful, and permits the instructor to discuss music in greater depth.
Item type: Books
Tags from this library: No tags from this library for this title. Log in to add tags.
Star ratings
    Average rating: 0.0 (0 votes)
Holdings
Item type Current library Home library Collection Call number Copy number Status Date due Barcode
Books Books National University - Manila LRC - Annex Relegation Room General Education GC MT 6 .N67 1977 (Browse shelf(Opens below)) c.1 Available NULIB000004708

Includes index.

1. FRANZ SCHUBERT, Erlkönig -- 2. SCHUBERT, An Sylvia -- 3. SCHUBERT, Fourth movement (Theme and Variations) from Quintet in A major (Trout) -- 4. HECTOR BERLIOZ, Fourth movement from Symphonie fantastique -- 5. FELIX MENDELSSOHN, Overture to A Midsummer Night's Dream -- 6. MENDELSSOHN, First movement from Violin Concerto in E minor -- 7. FRÉDÉRIC FRANÇOIS CHOPIN, Mazurka in C-sharp minor, Opus 6, No. 2 -- 8. CHOPIN, Etude in A minor, Opus 25, No. 11 -- 9. CHOPIN, Prelude in E minor, Opus 28, No. 4 -- 10. ROBERT SCHUMANN, Mondnacht from Liederkreis, Opus 39 -- 11. FRANZ LISZT, Sonetto 104 del Petrarca -- 12. RICHARD WAGNER, Excerpts from Tristan und Isolde -- 13. GIUSEPPE VERDI, Violetta's scene from La traviata, Act I -- 14. VERDI, Opening of the Dies irae from Messa da Requiem -- 15. JOHANNES BRAHMS, Third movement from Symphony No. 3 in F major -- 16. MODEST MUSORGSKY, Boris's Monologue from Boris Godunov, Act II 17. PETER ILYICH TCHAIKOVSKY, Romeo and Juliet, Overture-Fantasy 18. TCHAIKOVSKY, Excerpts from The Nutcracker -- 19. GIACOMO PUCCINI, Scene from La bohème, Act I -- 20. GUSTAV MAHLER, Fourth movement from Symphony No. 4 -- 21. CLAUDE DEBUSSY, Prelude to "The Afternoon of a Faun" -- 22. ARNOLD SCHOENBERG, Excerpts from Five Pieces for Orchestra, -- 23. SCHOENBERG, A Survivor from Warsaw -- 24. CHARLES IVES, Putnam's Camp, Redding, Connecticut -- 25. BÉLA BARTÓK, First movement from Music for Strings, -- 26. IGOR STRAVINSKY, Excerpts from The Rite of Spring -- 27. STRAVINSKY, First movement from Symphony of Psalms -- 28. ANTON WEBERN, Pieces for Orchestra, Opus 10, Nos. 3 and 4 -- 29. EDGARD VARÈSE, Ionisation -- 30. ALBAN BERG, Act III, Scenes 4 and 5 from Wozzeck -- 31. AARON COPLAND, Opening scene from Billy the Kid -- 32. RUTH CRAWFORD, Third movement from String Quartet 1931 -- 33. ELLIOTT CARTER, Etudes 4, 5, and 8 from Eight Etudes and a Fantasy for Woodwind Quartet -- 34. PIERRE BOULEZ, Excerpts from Le Marteau sans maître No. 1: Before "L'Artisanat furieux" No. 3: "L'Artisanat furieux" No. 7: After "L'Artisanat furieux" -- 35. GEORGE CRUMB, El niño busca su voz from Ancient Voices of Children -- 36. MARIO DAVIDOVSKY, Synchronisms No. 1 for Flute and

This anthology is designed for use in introductory music courses, where the ability to read music is not a prerequisite. The unique system of high- lighting employed in this book enables students to follow full orchestral scores after about one hour of instruction. This system also has the ad- vantage of permitting students who can read music to perceive every aspect of the score. It is felt that our system of highlighting will be of greater pedagogical value than artificially condensed scores, which restrict the student's vision to pre-selected elements of the music. The use of scores in introductory courses makes the student's listening experience more intense and meaningful, and permits the instructor to discuss music in greater depth.

There are no comments on this title.

to post a comment.