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Book Details

  • Paperback + Digital Product License Key Folder
  • Bookstore's Wholesale Price: $89.00
  • September 2016
  • ISBN: 978-0-393-60251-7
  • 432 pages
  • Territory Rights: USA and Dependencies, Philippines and Canada.
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  1. Music

The Enjoyment of Music

Essential Listening Edition

Third Essential Listening Edition

Paperback + Digital Product License Key Folder

with Total Access

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Andrew Dell'Antonio (Author, University of Texas, Austin), Kristine Forney (Author, California State University, Long Beach), Joseph Machlis (Author, Late of Queens College, CUNY)


Teaches the essential skills that students need to listen to, understand, and enjoy music.

The Enjoyment of Music: Essential Listening Edition combines powerful listening tools, rich resources, and flexible organization—everything needed for an involved listening experience—in a compact and affordable package. The Third Edition is strengthened with new features that focus listening on music's expressive qualities.


Innovative pedagogy that connects active listening to personal response

Each chapter opens with a new "First, listen..." feature that engages students in listening right away. A brief question focuses attention on a key aspect of the selected work. Online, a "Focus" feature builds on "First listen..." to help students consider critical elements of the work. Chapter-ending "Reflect" sections encourage students to dwell on their personal aesthetic response to the work, opening a process of introspection with no set outcome. The individual response to musical expression is a crucial and active component to musical enjoyment.  

A flexible, modular organization

The chapters are short and focus on a single work, or two related works, allowing professors to easily tailor the course. An innovative, alternative table of contents uses color-coding to link chapters around four themes, providing instructors with additional options for structure:
Music in Sacred Spaces
Music for Stage and Screen
Music among Friends
Music in Public Spaces 

A new, dynamic presentation of the Materials of Music online

The Third Edition establishes a solid foundation of essential listening skills with new tutorials, built on the chapters covering the materials of music, that seamlessly combine text, music, and graphics for an active and engaging experience. Specific learning objectives and review questions for each objective facilitate student mastery and listening confidence.  

Total Access

Each copy of the print text contains the access code to unlock these resources and more:
Streaming access to all listening examples
Interactive Listening Guides (iLGs) for every work covered in the book
Listening and factual quizzes powered by InQuizitive
Two hours of Metropolitan Opera video
Instruments of the Orchestra videos 

    Prelude 1: Listening to Music Today
    Chapter 1: Melody: Musical Line
    Chapter 2: Rhythm and Meter: Musical Time
    Chapter 3: Harmony: Musical Depth
    Chapter 4: The Organization of Musical Sounds
    Chapter 5: Musical Texture
    Chapter 6: Musical Form
    Chapter 7: Musical Expression: Tempo and Dynamics
    Chapter 8: Music and Words
    Chapter 9: Voices and Instrument Families
    Chapter 10: Western Musical Instruments
    Chapter 11: Musical Ensembles
    LG 1: Britten, The Young Person’s Guide to the Orchestra
    Chapter 12: Style and Function of Music in Society

    PART 2: The Middle Ages and Renaissance
    Prelude 2: Music as Commodity and Social Activity
    Chapter 13: Voice and Worship: Tradition and Individuality
    LG 2: Hildegard of Bingen, Alleluia, o virga mediatrix
    Chapter 14: Symbols and Puzzles: Machaut and the Medieval Mind
    LG 3: Machaut, Ma fin est mon commencement
    Chapter 15: Singing in Friendship: The Renaissance Madrigal
    LG 4: Farmer, Fair Phyllis
    Chapter 16: Remember Me: Personalizing the Motet in the Renaissance
    LG 5: Josquin, Ave maria . . . virgo serena
    Chapter 17: Glory Be: Music for the Renaissance Mass
    LG 6: Palestrina, Gloria, from Pope Marcellus Mass

    PART 3: The Baroque Era
    Prelude 3: Music as Exploration and Drama
    Chapter 18: Performing Grief: Purcell and Early Opera
    LG 7: Purcell, Dido’s Lament, from Dido and Aeneas
    Chapter 19: Musical Sermons: Bach and the Lutheran Cantata
    LG 8: Bach, Cantata No. 140 (Wachet auf), Nos. 1 and 4
    Chapter 20: Textures of Worship: Handel and the English Oratorio
    LG 9: Handel, Messiah, “Rejoice greatly” and “Hallelujah!”
    Chapter 21: Independent Study: Billings and the North American Sacred Tradition
    LG 10: Billings, David’s Lamentation
    Chapter 22: Grace and Grandeur: The Baroque Dance Suite
    LG 11: Handel, Alla hornpipe, from Water Music
    Chapter 23: Sounding Spring: Vivaldi and the Baroque Concerto
    LG 12: Vivaldi, Spring, from The Four Seasons, I
    Chapter 24: Process as Meaning: Bach and the Fugue
    LG 13: Bach, Contrapunctus I, from The Art of Fugue

    Prelude 4: Music as Order and Logic
    Chapter 25: Musical Conversations: Haydn and Classical Chamber Music
    LG 14: Haydn, String Quartet, Op. 76, No. 3 (Emperor), II
    Chapter 26: The Ultimate Instrument: Haydn and the Symphony
    LG 15: Haydn, Symphony No. 100 in G Major (Military), II
    Chapter 27: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms
    LG 16: Mozart, Eine kleine Nachtmusik, I and III
    Chapter 28: Conversation with a Leader: Haydn and the Classical Concerto
    LG 17: Haydn, Trumpet Concerto in E-flat Major, III
    Chapter 29: Personalizing the Conversation: Beethoven and the Classical Sonata
    LG 18: Beethoven, Piano Sonata in C-sharp Minor, Op. 28, No. 2 (Moonlight), I
    Chapter 30: Disrupting the Conversation: Beethoven and the Symphony in Transition
    LG 19: Beethoven, Symphony No. 5 in C Minor
    Chapter 31: Making It Real: Mozart and Classical Opera
    LG 20: Mozart, Don Giovanni, Act I, scene 2
    Chapter 32: Mourning a Hero: Mozart and the Requiem
    LG 21: Mozart, Dies irae, from Requiem

    Prelude 5: Music as Passion and Individualism
    Chapter 33: Musical Reading: Schubert and the Early Romantic Lied
    LG 22: Schubert, Elfking
    Chapter 34: Marketing Music: Foster and Early “Popular” Song
    LG 23: Foster, Jeanie with the Light Brown Hair
    Chapter 35: Dancing at the Keyboard: Chopin and Romantic Piano Music
    LG 24: Chopin, Mazurka in B-flat Minor, Op. 24, No. 4
    Chapter 36: Musical Diaries: Hensel and Programmatic Piano Music
    LG 25: Hensel, September: At the River, from The Year
    Chapter 37: Personal Soundtracks: Berlioz and the Program Symphony
    LG 26: Berlioz, Symphonie fantastique, IV
    Chapter 38: Sounding a Nation: Grieg and Orchestral Nationalism
    LG 27: Grieg, Peer Gynt, Suite No. 1, excerpts
    Chapter 39: Absolutely Classic: Brahms and the Nineteenth-Century Symphony
    LG 28: Brahms, Symphony No. 3 in F Major, III
    Chapter 40: Multimedia Hits: Verdi and Italian Romantic Opera
    LG 29: Verdi, Rigoletto, Act III, excerpts
    Chapter 41: Total Art: Wagner and German Romantic Opera
    LG 30: Wagner, Die Walküre, Act III, Opening and Finale
    Chapter 42: Poetry in Motion: Tchaikovsky and the Ballet
    LG 31: Tchaikovsky, The Nutcracker, Two Dances
    Chapter 43: Mythical Impressions: Program Music at the End of the Nineteenth Century
    LG 32: Debussy, Prelude to “The Afternoon of a Faun
    Chapter 44: Jubilees and Jubilation: The African American Spiritual Tradition
    LG 33: Swing Low, Sweet Chariot
    Chapter 45: A Good Beat: American Vernacular Music at the Close of an Era
    LG 34: Sousa, The Washington Post

    Prelude 6: Making Music Modern
    Chapter 46: Calculated Shock: Stravinsky and Modernist Multimedia
    LG 35: Stravinsky, The Rite of Spring, Part I, excerpts
    Chapter 47: American Intersections: Jazz and Blues Traditions
    LG 36: Holiday, Billie’s Blues
    Chapter 48: Modern America: Still and Musical Modernism in the United States
    LG 37: Still, Suite for Violin and Piano, III
    Chapter 49: Folk Opera? Gershwin and Jazz as “Art”
    LG 38: Gershwin, Summertime, from Porgy and Bess
    Chapter 50: Sounds American: Copland and Musical Nationalism in the United States
    LG 39: Copland, Appalachian Spring, excerpts
    Chapter 51: Also American: Revueltas and Mexican Musical Moderinsm
    LG 40: Revueltas, Homage to Federico García Lorca, III

    Prelude 7: Beyond Modernism?
    Chapter 52: New Sound Palettes: A Mid-Twentieth-Century American Experimentalist
    LG 41: Cage, Sonatas and Interludes, Sonata V
    Chapter 53: Extended Techniques: Crumb and the New Virtuosity in America
    LG 42: Crumb, Caballito negro
    Chapter 54: Staged Sentiment: Bernstein and American Musical Theater
    LG 43: Bernstein, West Side Story, excerpts
    Chapter 55: Underscoring Meaning: Williams and Music for Film
    LG 44: Williams, Imperial March, from The Empire Strikes Back
    Chapter 56: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
    LG 45: Corigliano, Prelude, from Mr. Tambourine Man
    Chapter 57: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
    LG 46: Higdon, blue cathedral, excerpt
    Chapter 58: Icons in Sound: Tavener and Postmodern Orthodoxy
    LG 47: Tavener, A Hymn to the Mother of God
    Chapter 59: Reality Shows: Adams and Contemporary Opera
    LG 48: Adams, Doctor Atomic, “At the sight of this”